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

296 Treatment of Svara
notes which creates an artistic variety⁵ sometimes by non-
repetition and somewhere by overstepping only, is (called)
antaramārga and is generally (found) among modified
jāti-s. (52-53)
12. षाडवम्
षडवन्ति प्रयोगं ये स्वरास्ते षाडवा मताः ।
षट्स्वरं तेषु जातत्वाद्गीतं षाडवमुच्यते ॥५४॥
13. औडुवम्
वान्ति यान्त्युडवो ऽत्रेति व्योमोक्तमुडुवं बुधैः ।
पञ्चमं तच्च भूतेषु पञ्चसंख्या तदुद्भवा ॥५५॥
ओडुवी सा ऽस्ति येषां च स्वरास्ते त्वौडुवा मताः ।
ते संजाता यत्र गीते तदौडुवितमुच्यते ॥५६॥
तत्सम्बन्धादौडुवं च पञ्चस्वरमिदं विदुः ।
क्रमादल्पाल्पतरते षाडवौडुवकारिणोः ॥५७॥
सम्पूर्णत्वदशायां स्तः, पञ्चम्यां तु विपर्ययः ।
वचनं विधिरप्राप्ताविहाल्पत्वबहुत्वयोः ॥५८॥
परिसंख्या द्वयोः प्राप्तावेकस्यातिशयाय यत् ।
12 &13. Hexatonic (ṣāḍava) and pentatonic (auḍuva) forma-
tion : ( 54-59 b )
The six notes that preserve¹ a (musical) performance²
are accepted to be hexatones, and the song arising out of
those six is called hexatonic (ṣāḍava). ( 54 )
5. 'K' elucidates that the consonance with the fundamental note
etc., becomes delightful when served by the ascending and
other movements creating wonderful tonal structures with
note-series and so on.

1. Avanti lit. means protect (from the root av to protect).
2. Prayoga technically means 'performance or rendering' and in
   this context, it pertains to a musical composition or a song.
   The word is otherwise applicable to all the performing arts.
   Section 7 : Jāti-s (Melodic types) 297
   ( Because ) here, in the sky, the stars ( uḍu-s ) move
   about, it is called uḍuvam by the sages; and that is fifth among
   the ( great ) elements³; the number five derived from it⁴ is
   auḍuvī ( fiver ), and ( therefore ) the notes of that ( number )
   are accepted to be auḍuva ( pentatones ). When these⁵ as
   such occur in a musical composition⁶ it is said to be 'made
   as pentatonic' ( auḍuvita ) and this group⁷ of five notes being
   related to it is known⁸ as pentatonic ( auḍuva ). ( 55-57b )
   The author is presenting here a semantic derivation of the two
   terms ṣāḍava and auḍuva, the former signifying a musical composition
   or a song composed with six notes and the latter with five notes. Both
   the names are derived from the numbers six and five, of which the
   former naturally holds good and the latter is obviously laboured and
   seems to be far-fetched. It is said that the word auḍuaa (pentatonic)
   is finally derived from the word uḍu. The text of the verses 55-57b
   gives us this derivation in the following five stages; worked backwards :
   ( i ) The word derived is......auḍuva (pentatonic).
   ( ii) Auḍuva (pentatonic) is a group of five notes belonging to a
   song which is made pentatonic (auḍuvita).
   (iii) Auḍuvita is the name of that song which is qualified by the
   number five (auḍuvī).
   (iv) Auḍuvī (the number five) is derived from uḍuvam (sky) because
   it is the fifth of the five great elements.
   ( v) Uḍuvam (sky) is so named because it is the dwelling place of
   uḍu-s (stars). (55-57b)
   Hexatonic and pentatonic forms of jāti-s are formed by eliminat-
   ing one or two notes respectively; but these forms are possible of those
   jāti-s that are capable of being modified through incompleteness, and
   most of these jāti-s therefore necessarily have three forms, viz. complete,
   hexatonic and pentatonic. Here, the author says that the notes, which
   by being eliminated from the complete forms become the cause of the
3. That is, if counted in the order of dissolution, viz. earth, water,
   fire, air and space; but they evolve in the reverse order.
4. From the fact that the sky is the fifth element.
   . The five notes called pentatones.
5. Literally, in a song.
6. Combination of five notes seems to be implied.
7. 'S' says, "Known to Bharata and his successors."