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

272 Treatment of Svara
for example, one of these four is ignored (in turn), we get four varieties,
viz. (i) lacking in respect of completeness, and in not having the denomi-
native note (ii) as the initial note, (iii) as the fundamental note, and
(iv) as the semifinal note. However, by the omission of one or more of
these factors, as pointed out by Kallinātha, what is intended is not the
absence of these but the violation of śuddhatā. The specific characteris-
tics of śuddha jāti-s involved here are the employment of the denomina-
tive note as the initial, the fundamental and the semifinal note and
completeness; what is implied by omission is not that the varieties of the
modified jāti-s can be formed without employing the factors such as
completeness, and so on, but that there will be loss of completeness, i.e.
less number of notes (five or six) will be employed and notes other than
the denominative ones will be employed as the initial, the fundamental
and the semifinal notes; for otherwise jāti-s cannot be formed at all.
Thus the term omission or its equivalents have a technical meaning.
Similarly, by dropping two factors six varieties are obtained,
e.g. ( i ) by dropping completeness and the initial note
( ii) by ,, ,, and the fundamental note
(iii) by ,, ,, and the semifinal note
(iv) by ,, the initial and the ,, ,,
( v) by ,, the fundamental and the ,, ,,
(vi) by ,, ,, ,, initial note
Similarly, by ignoring the observance of the definitive rule with
regard to three factors, four other varieties are obtained, e. g. by
dropping:
( i ) completeness, the initial and the fundamental notes
( ii) ,, ,, and the semifinal notes
(iii) ,, the fundamental and semi-final notes
(iv) the initial, the fundamental and the semifinal notes.
However, if all the four factors are omitted there will only be
one variety which will probably be the same as the modified form
defined in verse 3 ante. (4-5)
In the case of ṣāḍjī, fifteen varieties were obtained. Analysing
the process of their formation it is observed that eight of them were
formed due to the non-observance of the condition of completeness
(sampūrṇatva or pūrṇatva). While seven other varieties were obtained by
omitting the other factors, viz. the initial note, the fundamental note
and the semifinal note in the order already demonstrated. Now, the
author adds that the other factors being in their order, loss of complete-
ness is effected in two ways, viz. by the omission of one or of two notes

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Section 7 : Jāti-s (Melodic types) 273
and thereby creating hexatonic or pentatonic jāti-s. This process leads
to the formation of eight more pentatonic varieties bringing the total to
twentythree (8+8+7 = 23). Since ṣāḍjī is a hexatonic jāti it has only
fifteen varieties, but all others beginning from ārṣabhī are hexatonic as
well as pentatonic and thus have twentythree varieties each. Thus we
have (15+23×6 = 153) one hundred and fiftythree varieties of modified
jāti-s in all. These are classified in the following table which has been
adopted with some modifications from Praṇava Bhāratī, p. 245. (6-7)
Modification of śuddha jāti-s

No.	Name of the śuddha jāti	Total No. of modified forms	Manner of modification: Loss of completeness	Manner of modification: Violation of the rule for the initial, fundamental and the semifinal notes
1	2	3	4	5
1.	Ṣāḍjī	15	8	7
2.	Ārṣabhī	23	16	7
3.	Gāndhārī	23	16	7
4.	Madhyamā	23	16	7
5.	Pañcamī	23	16	7
6.	Dhaivatī	23	16	7
7.	Naiṣādī	23	16	7
	Total No.	153	104	49

(Chart 28)
(iii) संसर्गजा विकृता जातयः
विकृतानां तु संसर्गाज्जाता एकादश स्मृताः ।
स्यात्षड्जकैशिको षड्जोदीच्यवा षड्जमध्यमा ॥१८॥
गान्धारोदीच्यवा रक्तगान्धारी कैशिकी तथा ।
मध्यमोदीच्यवा कार्मारवी गान्धारपञ्चमी ॥१९॥
तथा ऽन्ध्री नन्दयन्तीति,
तद्धेतूनधुना ब्रुवे ।
षाड्जीगान्धारिकायोगाज्जायते षड्जकैशिकी ॥२०॥
षाड्जिकामध्यमाभ्यां तु जायते षड्जमध्यमा ।
गान्धारीपञ्चमीभ्यां तु जाता गान्धारपञ्चमी ॥२१॥
18