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

(iv) षड्जमध्यमसाधारणम्
निषादो यदि षड्जस्य श्रुतिमाद्यां समाश्रयेत् ।
ऋषभस्त्वन्तिमां प्रोक्तं षड्जसाधारणं तदा ॥७॥
मध्यमस्यापि गपयोरेवं साधारणं मतम् ।
साधारणं मध्यमस्य मध्यमग्रामगं ध्रुवम् ॥८॥
साधारणे कैशिके ते केशाग्रवदणुत्वतः ।
ते एव कैश्चिदुच्येते ग्रामसाधारणे बुधैः ॥९॥
(iv) The overlapping of ṣaḍja and madhyama: 7-9
If niṣāda takes resort to the first śrutis of ṣaḍja and
ṛṣabha to its last, it is called the overlapping of ṣaḍja.
Similarly, the overlapping of madhyama is conceived in-bet-
ween gāndhāra and pañcama. The overlapping of madhyama
is definitely restricted to madhyama-grāma. (7-8)
These two¹ overlappings, being subtle like the point of
hair, are known as kaiśika² and are also called “the over-
lapping of grāma-s”³ by (some) scholars.⁴ (9)
The overlapping of ṣaḍja and madhyama is analogous to the modi-
fication of these two notes The overlapping of ṣaḍja takes place when it
yields its initial śruti to niṣāda and its final śruti to ṛṣabha retaining its
2nd-3rd śruti-s to itself. Similarly, the overlapping of madhyama takes
place when madhyama yields its first śruti to gāndhāra and its fourth śruti to
pañcama, retaining only two śruti-s to itself. However, as pointed out
by ‘K’, the longest śruti-interval conceived in the grāma-s is that of four

1. That is, the overlapping of ṣaḍja and the overlapping of
   madhyama.
2. Kaiśika literally means hair-like, i. e. very fine pointed, very
   subtle. The word (kaiśika) is applied to ṣaḍja sādhāraṇa and
   madhyama-sādhāraṇa.
3. ‘S’ infers that since the overlapping of madhyama is limited
   to madhyama-grāma, the overlapping of ṣaḍja is also to be under-
   stood as applicable to ṣaḍja-grāma only. That is how he
   comes to justify the expression grāma-sādhāraṇa i. e., the
   overlapping of grāma-s, as signifying the process to be indica-
   tive of grāma-s. However, this does not accord with the
   reason pointed out by ‘K’ for restricting the overlapping of
   madhyama to madhyama-grāma since ṛṣabha or niṣāda do not
   exceed the interval of four śruti-s in the overlapping of ṣaḍja
   if made applicable to madhyama-grāma.
4. This, however, does not seem to be the view of the author.
   śruti-s and therefore a five-śruti interval is considered to be undesirable.
   So, if in the ṣaḍja-grāma the overlapping of madhyama is allowed, its
   pañcama will swell into a five-śruti-interval, which is undesirable.
   Therefore, the overlapping of madhyama is permitted only in madhyama-
   grāma in which pañcama has three śruti-s only.
   (v) जातिसाधारणम्
   एकग्रामोद्भवास्वेकांशासु जातिषु यद्भवेत् ।
   समानं गानमार्गास्तज्जातिसाधारणं जगुः ॥१०॥
   जातिसाधारणं केचिद्रागानेव प्रचक्षते ।
   (v) Overlapping of jāti-s: 10-11b
   Among the jāti-s of the same grāma having the same
   tone as the fundamental note, the identical melodic presenta-
   tion that obtains between them is called the overlapping of
   jāti-s by the noble ones.¹ The overlapping of jāti-s is identi-
   fied by some with rāga-s². (10-11b)
   Jāti-sādhāraṇa is very briefly dealt with by Śārṅgadeva as well as by
   Bharata. ‘K’ thinks that it is based on varṇa-sāmya, the identity in the
   patterns of tonal movement. ‘S’ cites śuddha-kaiśika-madhyama as one of
   the instances of jāti-sādhāraṇa. Some details regarding the practice of
   jāti-sādhāraṇa will be found in Section VII of this chapter.
5. The earlier authors such as Bharata, Mataṅga and others are
   meant.
6. ‘S’ cites rāga śuddha-kaiśika-madhyama as an illustration.