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

280 Treatment of Svara
(vii) The number of fundamental notes in different jāti-s :
24c-28
The three (jāti-s) nandayantī, madhyamodīcyavā and
gāndhārapañcamī have one fundamental note; dhaivatī, gāndhā-
rodīcyavā and pañcamī are said to be having two fundamental
notes; naiṣādī, ārṣabhī and ṣaḍja-kaiśikī are considered as
having three fundamental notes; āndhrī, kārmāravī and ṣaḍjo-
dīcyavā have four fundamental notes; the four, rakta gāndhārī,
gāndhārī, madhyamā and ṣaḍjī have five fundamental notes;
kaiśikī is the only one having six fundamental notes, while
ṣaḍja-madhyamā, as declared by the sages, has seven funda-
mental notes; thus, among these eighteen jāti-s there are
sixty-three fundamental notes. (24c-28).
The notes that are capable of being used as the fundamental notes
in the different jāti-s in consonance with the above scheme are indicated
by 'K' as follows :
The fundamental notes of jāti-s
S. No. Name of jāti | No. of fundamental notes | The fundamental notes

1. Nandayantī | 1 | pa
2. Madhyamodīcyavā | 1 | pa
3. Gāndhāra-pañcamī | 1 | pa
4. Dhaivatī | 2 | ri, dha
5. Gāndhārodīcyavā | 2 | sa, ma
6. Pañcamī | 2 | ri, pa
7. Naiṣādī | 3 | ni, ri, ga
8. Ārṣabhī | 3 | ri, ni, dha
9. Ṣaḍjakaiśikī | 3 | sa, ga, pa
10. Āndhrī | 4 | ri, ga, pa, ni
11. Kārmāravī | 4 | ri, pa, dha, ni
12. Ṣaḍjodīcyavā | 4 | sa, ma, dha, ni
13. Rakta-gāndhārī | 5 | sa, ga, ma, pa, ni
14. Gāndhārī | 5 | sa, ga, ma, pa, ni
15. Madhyamā | 5 | sa, ri, ma, pa, dha
16. Ṣaḍjī | 5 | sa, ga, ma, pa, dha
17. Kaiśikī | 6 | sa, ga, ma, pa, dha, ni
18. Ṣaḍjamadhyamā | 7 | sa, ri, ga, ma, pa, dha, ni
    Total 63
    (Chart 31)
    Section 7 . Jātis (Catalogue of...)
    The total number of fundamental notes in these eighteen jāti-s
    is sixty-three; but this is so only if complete jāti-s are taken into account.
    'S', quoting Mataṅga, points out that in the hexatonic jāti-s the number
    of fundamental notes is reduced to forty-seven. Explaining the loss of
    sixteen in the process he says that, nine fundamental notes are account-
    ed for by the four jāti-s that are always complete, viz. kārmāravī (4);
    gāndhāra-pañcamī (1), ṣaḍjakaiśikī (3) and madhyamodīcyavā (1) and seven
    belong to ṣaḍja-madhyama, ṣaḍjī, ṣaḍjodīcyavā, kaiśikī and raktagāndhārī
    which are considered to be exceptions to this process. These exceptions
    are mentioned by Bharata : "The ṣaḍja-madhyā should have no hexatonic
    treatment including niṣāda (lit. the seventh), and there should be no
    gāndhāra there, because of an elimination of its consonant note; and the
    gāndhārī, the rakta-gāndhārī and the kaiśikī should have no pañcama, and
    the ṣaḍjī should have no gāndhāra, and the ṣaḍjodīcyavā no dhaivata in
    their hexatonic treatment. These seven (notes) are to be discarded in
    connexion with the hexatonic treatment of the jāti-s named, because of
    the elimination of their consonant notes (N. S., XXVIII. 65-69, Eng.
    Trans. by M. Ghosh, Vol. II, p. 18).
    Similarly, in the hexatonic jāti-s there are only thirty fundamental
    notes. That is, out of the remaining fortyseven, twelve are dropped in
    this process because they belong to jāti-s that are always complete and
    hexatonic, viz. ṣaḍjī (5), nandayantī (1), āndhrī (4) and gāndhārodīcyavā
    (2); and five more are left out by way of exception. And he ('S')
    quotes the following verse of Bharata in support of this statement : "The
    pentatonic treatment relates to five notes (in a grāma) and is known as
    being of ten kinds. Its subdivisions are thirty and have been mentioned
    before (N. S. XXVIII 98, Eng. Trans. by M. Ghosh, Vol. II, p. 23).
    ख. जातीनां त्रयोदश-सामान्यलक्षणानि
    ग्रहांशतारमन्द्राश्च न्यासापन्यासकौ तथा ।
    अपि संन्यासविन्यासौ बहुत्वं चाल्पता ततः ॥२९॥
    एतान्यन्तरमार्गेण सह लक्षणानि जातिषु ।
    षाडवोडुविते क्वापीत्येवमाहुस्त्रयोदश ॥३०॥
    B. Thirteen factors characterising jāti-s : 29-57b
    Thirteen characteristic features are spoken of jātis, viz.
    the initial note, the fundamental note, the high (pitch range)
    the low (pitch range), the final note, the semifinal note,