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

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Treatment of Svara
saṁnyāsa¹, vinyāsa², profusion, rareness, antaramārga³ and the
hexatonic and the pentatonic (treatment) in some.⁴ (29-30)
Bharata and Mataṅga have spoken of only ten characteristic
features of jāti-s discounting saṁnyāsa, vinyāsa and antaramārga, distinctly
enunciated by Śārṅgadeva. 'K' points out that since saṁnyāsa and
vinyāsa refer to particular sections (vidārī-s) of compositions, they are
essentially covered by the semifinal note in the older scheme. Similarly,
antaramārga being dependent upon the mutual relationship of the funda-
mental note and the other factors, is not separately indicated there.
However, he justifies an explicit and definite mention of saṁnyāsa and
vinyāsa apart from the other ten features on the ground that they form
separate parts of the composition. Similarly, he says that since antara-
mārga has a distinct function without which the melody cannot proceed,
it deserves to be considered as an essential and distinct feature. The
technical terms involved here will presently be defined and explained
by the author.

1. ग्रह
   गीतादिनिहितस्तत्र स्वरो ग्रह इतीरितः ।
   तत्रांशग्रहयोरन्यतरोक्तावुभयग्रहः ॥३१॥
2. The initial note (graha) : (31)
   Of these¹, the note that is placed in the very com-
   mencement of the melody² is known as graha (the initial
   note). Where either of the two, the initial or the funda-
   mental note is mentioned, both are (thereby) compre-
   hended. (31)
   Now, the author goes on to define each of the thirteen charac-
   teristic features essentially found to constitute jāti-s. Of these, the
   initial note (graha) is defined as the note with which a melody is
   1-3. Saṁnyāsa, vinyāsa and antaramārga have not been rendered into
   English, firstly because these concepts are hardly used by the
   author in the individual description of the jāti-s and secondly,
   because it is not considered to be as advantageous as it is
   difficult. These terms are defined by the author subsequently.
3. That is, leaving aside the jāti-s that are always complete such
   as kārmāravī and so on.
4. The thirteen characteristic features.
5. Lit. a song or in this context jāti.

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Section 7 : Jāti-s (Melodic types) 263
commenced. It is said that, practically the initial note is the same as
the fundamental note (aṁśa) in all jāti s; and therefore the two terms are
interchangeable. So, of these two where only one is mentioned, the
other is invariably implied to be the same, and to be mentioned thereby.
If, only the fundamental note is mentioned, that itself is to be taken as
the initial note, and vice versa. Since the fundamental notes are sixty-
three, the initial notes too are sixtythree. Does it mean that there is no
difference between the initial and the fundamental note ? The difference
between the two is functional; whereas the fundamental note, as pointed
out by 'S', functions merely as sonant (vādī), the initial note is fourfold.
And moreover, being the originator of rāga, the fundamental note is
of primary importance, whereas the initial note is of a secondary
importance. This difference, theoretical as it is, will be further discerned
from the definition of the fundamental note.
Graha is literally and semantically defined as the note that takes
hold of the song or by which the song is initiated (lit. held).
2. अंशः
यो रक्तिव्यञ्जको गेये यत्संवाद्यनुवादिनौ ।
विदार्यां बहुलौ यस्मात्तारमन्द्रव्यवस्थितिः ॥३२॥
यः स्वयं यस्य संवादी चानुवादी स्वरो ऽपरः ।
न्यासापन्यासविन्याससंन्यासग्रहतां गतः ॥३३॥
प्रयोगे बहुलः स स्याद्ग्राह्योंऽशो योग्यतावशात् ।
बहुलत्वं प्रयोगेषु व्यापकं त्वंशलक्षणम् ॥३४॥
2. The fundamental note (aṁśa) : (32-34)
The note that is expressive of delightfulness in a
melody¹ and the consonants and assonants of which are
profuse in a sub-section (of the composition)², that which
determines the position of the higher and the lower pitch

1. Geya lit. means 'worthy of singing' or, in other words, 'vocal
   composition' which in this system also speaks for the instru-
   mental music.
2. Vidārī is defined as gīta-khaṇḍa, i. e. a sub-section of a melody.
   As 'S' elucidates, "vidārī is that which divides either the
   tonal content or the verbal content of a melody and is thereby
   twofold, viz. gīta-vidārī, i. e. a melodic divisor or a pada-vidārī,
   i. e. a verbal divisor." (S. R. I, p. 183).