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

278 Treatment of Svara
(vi) जातिषु स्वरसाधारणनियमः
पञ्चमोमध्यमाषड्जमध्यमाऽऽख्यासु जातिषु ।
स्वरसाधारणं प्रोक्तं मुनिभिर्भरतादिभिः ॥२१॥
अंशेषु समपेष्वेवतद्यथास्वनियमाद्भवेत् ।
एतदल्पनिगास्वाहुः कम्बलाश्वतरादयः ॥२२॥
अल्पद्विश्रुतिके रागभाषाऽऽदावपि तन्मतम् ।
निगयोरंशयोः षड्जमध्यमायां न तद्भवेत् ॥२३॥
विकृता एव तत्रापि स्वरसाधारणाश्रयाः ।
(vi) The rule pertaining to the overlapping of notes in certain
jāti-s : 21-24b
Overlapping of notes¹ has been mentioned by sage
Bharata and others in relation to jāti-s² called pañcamī,
madhyamā and ṣaḍjamadhyamā. (21)
It³ should accordingly be (applied) in relation to sa,
ma and pa (employed) as fundamental notes as per their
respective rule⁴ in the jāti-s having weak (alpa) ni and ga, as
declared by Kambala, Aśvatara and others. (22)
Overlapping of notes has been dealt with in Section 5 ante.
Briefly it implies, in this context, the use of antara-gāndhāra and kākalī-
niṣāda in some jāti-s and rāga-s, bhāṣā-s, etc. that have weak ni and ga
and have sa, ma or pa as their fundamental notes. There are three,
pañcamī, madhyamā and ṣaḍja-madhyamā. The overlapping of notes in
these jāti-s is recommended by Bharata, Kambala and Aśvatara, and
is to be introduced with reference to their fundamental notes sa, ma and
pa according to the rules laid down in each case in Section 5 (verse 4-7)
ante. 'S' elucidates this point, "overlapping of notes is to be applied in
case of the fundamental notes sa, ma and pa as per the rule. How ?, so
that the respective note-positions are not transgressed. In case of ṣaḍja
being the fundamental note, it is the overlapping of ṣaḍja, and when

1. Svara-sādhāraṇa.
2. The jāti-s related to the overlapping notes are three in number.
3. It refers to the overlapping of notes.
4. Cf. S. R. I. 5 4-6.
   This is also true of the rāga, bhāṣā and other forma-
   tions⁵ with weak ni and ga⁶; but however, it is not appli-
   cable to ni and ga when (used) as the fundamental notes of
   ṣaḍjamadhyamā. Even so, only the modified jāti-s (can) take
   resort to the overlapping of notes (23a-24b).
   madhyama and pañcama are the fundamental notes then it is the over-
   lapping of madhyama that takes place." In this context Thakur Onkar-
   nath has made interesting observations with regard to the question of
   pañcama and its technical accuracy in being named as madhyama sādha-
   raṇa, i. e. the overlapping of madhyama. It is also observed by him that
   the justification for sa, ma and pa being the only notes which, when used
   as fundamental notes, provide for the overlapping of notes in the three
   jāti-s lies in the fact that, they are placed at a distance of four śruti-s
   from their preceding notes; and it is the interval of four śruti-s that is
   the minimum required for the process (cf. Praṇava Bhāratī, p 254).
   Ṣaḍja-madhyamā has all the seven notes for its fundamental note and
   therefore the author makes a specific exception to the effect that the
   overlapping of notes cannot take place in it in case ga and ni are em-
   ployed as the fundamental notes. This is in accordance with the rule
   that antara-gāndhāra and kākalī-niṣāda cannot become fundamental notes
   because of being modified (vide N. S., G. O. S. Vol. IV, p. 32).
   (vii) जातिगतांशस्वरगणना
   एकांशा नन्दयन्ती च मध्यमोदीच्यवा तथा ॥२४॥
   गान्धारपञ्चमीत्येतास्तिस्रो द्वयंशास्तु धैवती ।
   गान्धारोदीच्यवा चाथ पञ्चमीत्युदिता इमाः ॥२५॥
   नैषाद्यार्षभिकाषड्जकैशिक्यस्त्र्यंशिका मताः ।
   आन्ध्रीकामार्षभीषड्जोदीच्यवाश्चतुरंशिकाः ॥२६॥
   पञ्चांशा रक्तगान्धारी गान्धारी मध्यमा तथा ।
   षाड्जीत्येताश्चतस्रः स्युः षडंशैकैव कैशिकी ॥२७॥
   सप्तांशा सूरिभिः षड्जमध्यमा परिकीर्तिता ।
   इति त्रिषष्टिरंशाः स्युर्जातिष्वष्टादशस्वपि ॥२८॥
5. According to 'K' rāga includes grāma-rāga-s, uparāga-s and
   rāgas-s; while bhāṣā includes vibhāṣā-s and antara-bhāṣā-s as
   well, and 'other formations' refer to ragāṅga-s, kriyāṅga-s and
   upāṅga-s.
6. Literally, notes having two śruti-s.