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

288 Treatment of Svara
(nyās) or even upto ri and dha below that. Such being the
ultimate limitations of the descending movement, discretion
operates within them. (37-38b)
It seems, as observed by Kallinatha, that the starting point in the
jāti-s was the middle fundamental (note). The range of pitch in the
lower register is, as a general rule fixed as from the middle fundamental
(note) to the lower fundamental (note); or alternatively upto the final
(note) of the lower register. Here, 'K' interprets 'nyāsa' (the final) to be
the last note of the grāma, i. e. ni for the ṣaḍja-grāma and ga for the
madhyama-grāma, and not as the concluding note of a song. As an excep-
tion as it were, it is laid down that in certain cases the descending
movement may be carried upto the immediately preceding notes in the
two grāma-s, viz. ri and dha. Kallinatha takes this option to be an
alternative to the second rule and accordingly interprets nyāsa in the
above sense. However, it will be worth-while to refer to Bharata
who says :
"The low pitch movement is threefold as it is determined by the
fundamental note, the final note or the semifinal note. There is lower
(pitch) beyond the fundamental (note). In the case of conclusion both
(the final and the semifinal notes) are accepted to be in order. However,
in the event of gāndhāra being the final note, ṛṣabha has been observed
(to be the last limit)." (Quoted by Kallinatha in his commentary,
S. R. Adyar, Vol. I, p. 186).
This shows that the provision of ri and dha made by Śārṅgadeva
cannot appropriately be taken as an (independent) alternative to the
second (viz. regarding the final note) but it is given by way of an
exception to it. Consequently, Kallinatha's interpretation of 'api' of
the text in the sense of 'alternative' is rather far-fetched. In this regard
it is better to take a view that corresponds to Bharata's statement which
has no such implications.
Bṛhaspati, who takes the last provision (viz. regarding ri and dha)
to be an exception to the rule pertaining to the fundamental, the final
or semifinal note in the lower register marking the limit for the descend-
ing movement, illustrates his interpretation with reference to nandayantī
jāti which belongs to the madhyama-grāma and has gāndhāra for its
final note. But as an exception the descending movement in this case
is found to be touching ṛṣabha. (cf. Bharatakośa Saṅgīta Siddhānta
pp. 81, 82).
Section 7 : Jāti-s (Melodic types) 289
5. न्यासः
गीते समाप्तिकृन्न्यास एकविंशतिधा च सः ॥३८॥
षाड्ज्यादीनां तु सप्तानां न्यासः स्यान्नामकृत्स्वरः ।
द्वौ नामकारिणौ षड्जमध्यमायां तु तौ मतौ ॥३९॥
उदीच्यवात्रयं मान्तं निपगान्ता तु कैशिकी ।
कार्मारी पञ्चमान्ता गान्ताः पञ्चापराः स्मृताः ॥४०॥
5. The final note : (38c-40)
The note with which a musical composition¹ is con-
cluded is the final (nyāsa)² note; and that is in twenty-one
(forms). (38 cd).
Of the seven (śuddhā) jāti-s such as ṣāḍjī and so on,
their denominative note is their final (note). In Ṣaḍja-
madhyamā the two notes designating it are considered to be
The following chart indicates the final notes of the jāti-s as des-
cribed in the text.
The final notes of the jāti-s.

S. No.	Name of jāti	Final notes	S. No.	Name of jāti	Final notes
1.	Ṣāḍjī	sa	10.	Madhyamodīcyavā	ma
2.	Ārṣabhī	ri	11.	Gāndhārodīcyavā	ma
3.	Gāndhārī	ga	12.	Kaiśikī	ni, pa, ga
4.	Madhyamā	ma	13.	Kārmāravī	pa
5.	Pañcamī	pa	14.	Ṣaḍja-kaiśikī	ga
6.	Dhaivatī	dha	15.	Rakta-gāndhārī	ga
7.	Naiṣādī	ni	16.	Gāndhāra-pañcamī	ga
8.	Ṣaḍja-madhyamā	sa, ma	17.	Āndhrī	ga
9.	Ṣaḍjodīcyavā	ma	18.	Nandayantī	ga
(Chart 32)

1. Gīta is interpreted by 'K' as "in the application or practice
   of jāti-s", i. e. in singing 'jāti-s. As already indicated, the
   term geya literally refers to vocal melody but includes instru-
   mental compositions as well.
2. Nyāsa, as explained by 'K' is not merely the final note; it is
   a note that brings the song to such a conclusion that leaves
   no anticipation in listening. The word literally means 'that
   by which one gives up, or by which one is relieved.'
   19