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

Page 290

290 Treatment of Svara
its final notes. The triad of udīcyavā³ ends with ma, while
Kaiśikī has ni, pa and ga for its finals. Kārmāravī ends with
pañcama and the remaining five⁴ are known to be ending
with ga. (39-40)
It will be observed that of these eighteen jāti-s ṣaḍja-madhyama
has two, kaiśikī has three and the rest of the sixteen have one final note
each, making a total of twentyone.
6. अपन्यासः
अपन्यासस्वरः स स्याद्यो विदारीसमापकः ।
कार्मारव्यां च नैषाद्यामान्ध्रीमध्यमयोस्तथा ॥४१॥
आर्षभ्यां च स्वरा ये ऽंशास्ते ऽपन्यासाः प्रकीर्तिताः ।
उदीच्यवानां त्रितये ऽपन्यासो षड्जधैवतौ ॥४२॥
मध्यमो रक्तगान्धार्यां गान्धार्यां षड्जपञ्चमौ ।
सनिपाः षड्जकैशिक्यां पञ्चम्यां निरिपाः स्मृताः ॥४३॥
रिपौ गान्धारपञ्चम्यां षाड्ज्यां गान्धारपञ्चमौ ।
धैवत्यां रिमधाः प्रोक्ता नन्दयन्त्यां मपौ मतौ ॥४४॥
रिवर्ज्याः षट् च कैशिक्यां सप्तापीत्यूचिरे परे ।
सप्तस्वरापन्यासां तु भाषन्ते षड्जमध्यमाम् ॥४५॥
अत्र येऽंशा अपन्यासास्ते स्युरेकोनविंशतिः ।
सप्तत्रिंशत्परे ते च षट्पञ्चाशत्तु संयुताः ॥४६॥
कैशिक्यां सप्तपक्षे तान्सप्तपञ्चाशतं विदुः ।
6. The semifinal note (apanyāsa): (41-47b)
The note that concludes a sub-section¹ of a musical
composition is the semifinal note. (41ab)
3 The three udīcyavā-s are ṣaḍjodīcyavā, madhyamodīcyavā, and
gāndhārodīcyavā.
4. The remaining five are ṣaḍja-kaiśikī, rakta-gāndhārī, gāndhāra-
pañcamī, āndhrī and nandayantī.

1. Vidārī literally means that which divides the composition and
   therefore is translated as 'sub-section' to distinguish it from
   'section' (dhātu) and part (aṅga) used in Chap. IV (Also see
   note 2 to verses 32-34 ante).

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Section 7 : Jāti-s (Melodic types) 291
In kārmāravī, naiṣādī, āndhrī, madhyamā and ārṣabhī the
notes that are the fundamental notes, are known to be the
semifinal notes (apanyāsa). In the triad of udīcyavā, ṣaḍja and
dhaivata are the semifinal notes; madhyama is² in the rakta-
gāndhārī, ṣaḍja and pañcama are³ in gāndhārī, sa, ni and pa in⁴
ṣaḍja-kaiśikī, and ni, ri and pa are known to be in⁵ pañcamī.
Ri and pa in⁶ gāndhāra-pañcamī, gāndhāra and pañcama in⁷ ṣāḍjī
and ri, ma and dha are⁸ to be in dhaivatī, (and) ma and pa are
accepted in nandayantī. Leaving aside ri, the (remaining)
six⁹ (notes) are in kaiśikī, while even seven are told¹⁰ by
The semifinal note according to 'S' marks the completion of sub-
sections in a composition and in the words of Mataṅga (quoted by him),
it presents the appearance of the conclusion of the composition.
The following chart indicates the semifinal notes of the eighteen
jāti-s as described in the text.
The semifinal notes of jāti-s

S. No.	Name of jati	Semifinal notes	No.	S. No.	Name of jati	Semifinal notes	No.
1.	Kārmāravī	ri, pa, dha, ni	4	10.	Gāndhārī	sa, pa	2
2.	Naiṣādī	ni, ri, ga	3	11.	Ṣaḍjakaiśikī	sa, ni, pa	3
3.	Āndhrī	ri, ga, pa, ni	4	12.	Pañcamī	ni, ri, pa	3
4.	Madhyamā	sa, ri, ma, pa, dha	5	13.	Gāndhāra-pañcamī	ri, pa	2
5.	Ārṣabhī	ri, ni, dha	3	14.	Ṣāḍjī	ga, pa	2
6.	Ṣaḍjodīcyavā	sa, dha	2	15.	Dhaivatī	ri, ma, dha	3
7.	Madhyamodīcyavā	sa, dha	2	16.	Nandayantī	ma, pa	2
8.	Gāndhārodīcyavā	sa, dha	2	17.	Kaiśikī	sa, ga, ma, pa, dha, ni, (ri)	6 or 7
9.	Rakta-gāndhārī	ma	1	18.	Ṣaḍjama-dhyamā	sa, ri, ga, ma, pa, dha, ni	7
(Chart 33)
2-10. Though the word apanyāsa (semifinal note) is not used in the
text it is implied in the context and even in the translation
it has been left as 'understood' in order to avoid unnecessary
repetition of the word.