सङ्गीतरत्नाकर: प्रथम भाग (शार्ङ्गदेव - स्वरगताध्याय सविस्तार व्याख्या व अनुवाद सहित)

228 Treatment of Svara
(ix) गान्धर्वे गाने च शुद्धकूटतानानामुपयोगः
गान्धर्वे मूर्च्छनास्तानाः श्रेयसे श्रुतिचोदिताः ।
गाने स्थानस्य लाभेन ते कूटाश्चोपयोगिनः ॥९१॥
(ix) The specific use of the combinational and permutational note-series in gāndharva and gāna : 91
In the context of gāndharva⁴, the mūrcchanās⁵ and the combinational note-series have been ordained in the vedic lore⁶ for the attainment of beatitude; while in gānam⁷, these along with the permutational note-series are useful in obtaining sthāna⁸. (91)
The commentators do not offer any explanation with regard to the names of various vedic sacrifices having been attributed to the different note-series. However, it seems that it is an extension of the basic atti- tude of the vedic tradition towards all aspects of human activity. This attitude was responsible for the formulation of the four upaveda-s (Āyurveda or Arthaśāstra, Gāndharvaveda, Dhanurveda and Sthāpatyaveda), the fifth veda-s (Mahābhārata and Nāṭyaveda), the six Vedāṅga-s etc.
4. Gāndharvam is the ancient name for what later came to be known as mārga, when employed against the term deśī (region- al music) as explained by 'S'. These terms will be dealt with properly in the subsequent chapters of the text. (cf. Chapter IV 1-4).
5. 'K' thinks that only standard mūrcchanā-s are meant.
6. Śruti in this context signifies any vedic passage. 'K' includes the smṛti-s also in its significance.
7. Gāna is the counterpart of gāndharva, later known as deśī (regional) music which was much more liberal and rich in variety. Since kūṭa-tāna (permutational note-series) has not been spoken of by Bharata, Śārṅgadeva specifically limits it to non-gāndharva music.
8. Sthāna has been interpreted by 'K' as ādhāraśruti (note-śruti) of svara, whereas 'S' interprets it as sthāya (a melodic phrase). The interpretation of 'K' is relevant to mūrcchanā and śuddha- tāna and that of 'S' to kūṭa-tāna which serves as the canvas for melodic diversity.
अथ पञ्चमं साधारणप्रकरणम्
(i) द्विविधं साधारणं, तत्र स्वरसाधारणम्
साधारणं भवेद् द्वेधा स्वरजातिविशेषणात् ।
स्वरसाधारणं तत्र चतुर्धा परिकीर्तितम् ॥१॥
काकल्यन्तरषड्जैश्च मध्यमेन विशेषणात् ।
Section 5
OVERLAPPING (Sādhāraṇa)
(i) Twofold overlapping and the overlapping in note-intervals : 1-2b
Overlapping (sādhāraṇa) is twofold as it pertains¹ to the tones (svara-s) and to jāti-s (the melodic types). Of these two, the overlapping of notes (svara-sādhāraṇa) is said to be
The concept of sādhāraṇa, as applied to music is elucidated by Bharata on the analogy of kāla-sādhāraṇa i. e., the overlapping of seasons: "If one perspires by remaining in the sun and yet feels cold staying in the shade neither the winter has ended, nor (can it be said that) the spring has arrived" (N. S., G. O. S. Vol. IV. 28. 34). This is an instance of the overlapping of the winter and the spring on their borders. Thus, the concept implies the conjunction of the end portion of a prior situation and the beginning portion of the following situation, creating a new situation that partakes partly of the characteristics of both and is thereby different from both of them individually. The application of this concept to the note-intervals is to be explained presently. According to Bharata the overlapping (sādhāraṇa) means the quality of a note rising between two (consecutive) notes (Eng. Trans. M. Ghosh, N. S. Vol. II, XXIII 35, p. 13).
The jāti-sādhāraṇa or the overlapping of melodic types is dealt with in Section VII; here we are concerned only with svara-sādhāraṇa or the overlapping of note-intervals which is related to four notes in particular,

1. Literally, "as it is qualified by svara-s and jāti-s".