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

300 Treatment of Svara
अस्यां षाड्ज्यां षड्जो न्यासः। गान्धारपञ्चमावपन्यासौ।
वराटी दृश्यते। अस्याः प्रस्तारः—
१. षाड्जी
१. सा सा सा सा पा निध पा धनि
तं भ व ल ला ट
२. रो गम गा गा सा रिग धस धा
न य नं बु जा धि
३. रिग सा रो गा सा सा सा सा
कं
४. धा धा नी निसं निध पा सां सां
न ग सू नु प्र ण य
५. नो धा पा धनि री गा सा गा
के लि स मु द्भ
६. सा धां धंनिं पां सा सा सा सा
वं
७. सा सा गा सा मा पा मा मा
स र स कृ त ति ल क
८. सा गा मा धनि निध पा गा रिग
पं का नु ले प
९. गा गा गा गा सा सा सा सा
नं
१०. धां सा री गरि सा मा मा मा
प्र ण मा मि का म
११. धा नो पा धनि री गा री सा
दे हं ध ना न
१२. रिग सा री गा सा सा सा सा
लं
[तत्र साकल्येन पदयोजना]
[तं भवलाटनयनाम्बुजाधिकं नगसूनुप्रणयकेलिसमुद्भवम् ।
सरसकृततिलयपङ्कानुलेपनं प्रणमामि कामदेहेन्धनान लम् ॥]
C. The characteristic features of the particular jāti-s: 59c-109
Now the characteristic features of each of these (jāti-s) are described. (59cd)
(i) Ṣāḍjī: (60-64)
In ṣāḍjī there are five¹ fundamental notes leaving aside niṣāda and ṛṣabha. The hexatone is (formed) by the elimina-
tion of ni, which in the state of its being complete sometimes becomes kākalī. Sa and ga and sa and dha are in concert
(saṅgati); ga is profuse. In the event of gāndhāra being the fundamental note ni cannot be eliminated, (its) mūrcchanā
commences with dhaivata. Here, the tāla (beat-cycle) is threefold pañcapāṇi which as ekakala and so on² is respectively³
set in the citra, vṛtti⁴ and dakṣiṇi mārga-s (span) and again in māgadhī, sambhāvitā and pṛthulā gīti-s in due order.⁵ Its proper
application (viniyoga) is known to be in the naiṣkrāmikī dhruvā⁶

1. These are sa, ga, ma, pa, dha.
2. Here, in ṣāḍjī, the tāla is pañcapāṇi (ṣaṭ-pitāputraka) which is threefold, viz. ekakala, dvikala and catuṣkala. These are defined in Chapter V.
3. That is, in the ekakala pañcapāṇi the mārga to be adopted is citra, in dvikala, vṛtti and in catuṣkala, dakṣiṇa mārga.
4. Vārtika is another name given to it.
5. That is, ekakala, dvikala and catuṣkala respectively are in māgadhī, sambhāvitā and pṛthulā gīti-s.
6. It is the song of naiṣkrāmikī dhruvā, as composed after the melodic pattern set in the ṣāḍjī jāti which is employed in the first act of a drama Dhruvā is a name for a particular class of songs sung in dramatic performances. These are of five types, viz. prāveśikī, ākṣepikī, prāsādikī, antarā and naiṣkrāmikī which are used in different junctures from a technical point of view.