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

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292 Treatment of Svara
some. Ṣaḍja-madhyamā is said to be having seven notes as its
semifinal notes. (40-45).
In this context, the semi-final notes that are (identical
with) the fundamental notes¹¹ are nineteen¹², others are
thirtyseven, and when put together they are fiftysix. In the
event of seven being (counted) in kaiśikī, they¹³ are known
to be fiftyseven in all (46-47b).
7. संन्यासः
अंशाविवादी गीतस्याद्यविदारोसमाप्तिकृत् ॥४७॥
संन्यासो ऽशाविवाद्येव
8. विन्यासः
, विन्यासः स तु कथ्यते ।
यो विदारीभागरूपपदप्रान्ते ऽवतिष्ठते ॥४८॥
7. Saṁnyāsa : (47c-48a)
Saṁnyāsa is the concluding note of the first sub-section¹
of a musical composition with the provision that it is not a
dissonant of the fundamental note. (47c-48a)
'K' interprets aṁśa-avivādī (not dissonant to the fundamental note)
to imply that it should be a consonant to it. But the expression being
negative only forbids the dissonant of the fundamental note from
becoming a saṁnyāsa (note) and does not affirm it positively to be either
11. Aṁśa is printed as antya (nyāsa) in the Adyar edition. 'S'
clearly reads aṁśa, 'K' is silent and K. R. follows the reading
of 'S' (cf. S. R. Vol I, p. 125). This reading is further
supported by S. Raj (II.1.4.94) wherein it is stated that the
semifinal notes identical with the fundamental notes are nine-
teen. However, it is only with reference to the śuddha jāti-s
that this statement holds good. In view of further evidence in
the text pertaining to the description of individual jāti-s, such
as ārṣabhī etc. the reading aṁśa has been preferred in our text.
12. These are indicated in item No. 1-5 of the above chart.
13. 'They' stands for apanyāsa-s (the semifinal notes).

1. Obviously more than one sub-section is visualised in a jāti.
   As already mentioned, vidārī is rendered as sub-section in
   order to distinguish it from section (dhātu) and part (aṅga),
   though it rather could as well mean a section.

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Section 7 : Jāti-s (Melodic types) 293
8. Vinyāsa : (48bd)
Similarly, vinyāsa is the note that stands at the end of a
pada² forming a part of a sub-section and is not related to the
fundamental note as its dissonant. (48b+d)
consonant or assonant. Obviously, therefore, it can be either of them.
Indeed Mataṅga expresses the same view interpreting the same express-
ion in the context of vinyāsa.
Vidārī is a sub-section of a musical composition, and it is divided
by certain notes that conclude certain patterns of tonal movement and
phrases structured upon meaningful words or syllabic units; and such a
note is known as vinyāsa, with the other qualifications of saṁnyāsa. That
is why Mataṅga considers it to be a qualified saṁnyāsa, as he says:
"This (note) itself which is saṁnyāsa becomes vinyāsa if it occurs at the
close of a portion (pada); and therefore it is said to be functioning as the
consonant or the assonant (note) of the fundamental (note) at the close
of a pada (Quoted by 'S' in his commentary). 'K' notably points out that
since all the notes excepting the dissonants can function as saṁnyāsa and
vinyāsa, they have not been enumerated, their number being too great.
9. बहुत्वम्
अलङ्घनत्तथा ऽभ्यासाद्बहुत्वं द्विविधं मतम् ।
पर्यायांशे स्थितं तच्च वादिसंवादिनोरपि ॥४९॥
9. Profusion (bahutva) : (49)
Profusion¹ is accepted to be twofold : by non-over-
stepping² and by repetition³. It abides in the co-fundamental
note⁴, as also in the sonant and the consonant. (49)
2. Pada literally means a complete or inflected word, i. e. a
meaningful word, a quarter or a line of stanza, a part, portion
or division (as of a sentence) etc. Here it seems to have been
used in the sense of a meaningful word or a specified syllabic
unit devoid of meaning.

1. Bahutva of the text.
2. Laṅghanam literally means overstepping in the sense of by-
   passing without physically avoiding a note entirely.
3. Abhyāsa is a technical term in Sanskrit grammar, implying a
   single repetition. Here it has been used in an extended
   meaning, implying multiple repetition.
4. Paryāyāṁśa refers to those notes that are capable of being
   employed as fundamental notes in the same jāti.