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

286 Treatment of Svara
3. The higher pitch range (tāra) : (35-36)
The fundamental note is (placed) in the middle
heptad¹, and from there² in the upper heptad, (one) may
ascend upto four notes: this is the maximum limit for the
higher pitch range; below that however, the movement is at
discretion. In relation to the higher pitch range, the elimi-
nated note too is taken into account.³ In nandayantī the
ascending movement is said to be upto the upper ṣaḍja.
(35-36).
'K' elucidates that by the middle heptad, the seven notes
of the middle register are indicated. The procedure for regu-
lating the ascending movement with reference to the maximum
pitch of the higher pitch-range is such that the fundamental note has
to be in the middle register and one can ascend upto four notes from it
in the upper register, i. e. four notes beyond the high (tāra) madhyama in
the madhyama-grāma and beyond the high ṣaḍja in the ṣaḍja-grāma. For
example, as interpreted by 'K', ṣaḍja being the fundamental note in
the middle heptad of the ṣaḍja-grāma, its last limit for the higher pitch
range will be four notes beyond the high ṣaḍja excluding it, viz. the high
pañcama; but in the case of the middle madhyama being the fundamental
note in the madhyama-grāma, its notes beyond the high madhyama will be
up to niṣāda and not beyond it, i. e. four notes to be counted in this
case include madhyama, the starting note. This is so because in madhyama-
grāma one cannot possibly go beyond the high register (as per the
text), and in ṣaḍja-grāma even though beyond high pañcama we have
high dhaivata and niṣāda, it will not be conducive to aesthetic delight to
take resort to them in practice, even though one may be able to do so.
But, however, Bharata has permitted the higher pitch range to be
extended upto five or even seven notes beyond the fundamental note in
the high register:
"The high pitch movement (tāragati) depending on the first five
notes, e. g. the raising of the pitch from any of the aṁśa (notes) should

1. Saptaka comprehends seven notes of the scale and is analogous
   to the Western concept of the octave, but in order to distin-
   guish it with respect to the number of notes it has been called
   'heptad'.
2. That is, the position of the fundamental note in the high
   register.
3. In other words, it is counted as constituting the No. 4 despite
   the fact of its elimination, for the purposes of determining the
   higher pitch range in a jāti.
   Section 7 : Jāti-s (Melodic types) 287
   be upto the note fourth from it, or it may be to the fifth note even,⁴
   but not to any beyond it." (N. S. XXVIII 93-94; Eng. Trans. M. Ghosh
   Vol. II. p. 21)
   It is notable that whereas Bharata provides for the ascending
   movement to take place from any of the fundamental notes of a jāti
   Kallinātha, in his interpretation of Śārṅgadeva, specifies ṣaḍja and
   madhyama only in ṣaḍja-grāma and madhyama-grāma respectively. Obviously
   he is taking ṣaḍja and madhyama as the standard notes for ṣaḍja and
   madhyama-grāma for the purpose of illustrating the maximum pitch
   range.
   It has already been mentioned that Dattila prescribes the limit of
   five notes beyond the fundamental note in the high register. It is
   obvious, however that even the scope of seven notes allowed by Bharata
   is not to be availed in every case.
   In nandayantī which is a jāti of the madhyama-grāma and has pañcama
   as its fundamental note, the ascending movement is limited to the high
   ṣaḍja, for according to Bharata (as quoted by 'K' vide S. R. Vol. I,
   p. 185 Adyar Ed.), in nandayantī the ascending movement must never
   transcend the high ṣaḍja." The practical implication of this provision is
   that whereas by the general rule the maximum high range of nandayantī
   with pañcama for its fundamental note ought to be four notes beyond
   pañcama, i. e. upto ṛi, Bharata has ordained it to be ṣaḍja² as an excep-
   tion. In other words, in the case of nandayantī one can ascend only
   three and not four notes beyond the fundamental note.
4. मन्द्रः
   मध्यस्थानस्थितादंशादामन्द्रस्थांशमाव्रजेत् ।
   आमन्द्रन्यासमथवा तदधःस्थरिधावपि ॥३७॥
   एषा मन्द्रगतेः सीमा ततोऽर्वाक्कामचारिता ।
5. The lower pitch range (mandra) : (37-38b)
   From the fundamental note (placed) in the middle
   register one may descend¹ upto the fundamental note in the
   lower register; or alternatively, upto the lower final note²
6. The original Sanskrit text of Bharata also provides for the
   extent of the seventh note as well as an option, but that seems
   to have escaped the English version quoted above.
7. Lit. 'may go to' or move.
8. That is the final note placed in the lower register.