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

Page 304

304 Treatment of Svara
Ṣaḍja-grāma

1. dha ni sa ri ga ma pa dha ni sa ri ga
2. ni sa ri ga ma pa dha ni sa ri ga ma
3. sa ri ga ma pa dha ni sa ri ga ma pa
4. ri ga ma pa dha ni sa ri ga ma pa dha
5. ga ma pa dha ni sa ri ga ma pa dha ni
6. ma pa dha ni sa ri ga ma pa dha ni sa
7. pa dha ni sa ri ga ma pa dha ni sa ri
   Madhyama-grāma
8. ni sa ri ga ma pa dha ni sa ri ga ma
9. sa ri ga ma pa dha ni sa ri ga ma pa
10. ri ga ma pa dha ni sa ri ga ma pa dha
11. ga ma pa dha ni sa ri ga ma pa dha ni
    5 ma pa dha ni sa ri ga ma pa dha ni sa
12. pa dha ni sa ri ga ma pa dha ni sa ri
13. dha ni sa ri ga ma pa dha ni sa ri ga
    (Cf. Bṛhaspati : Bharata kā Saṅgīta Siddhānta 1959, pp. 51, 52)
    It will be noticed that, whereas the seven-tone mūrcchanā-s are
    formed in descending order, these twelve-tone mūrcchanā-s are formed in
    ascending order in succession. Our comments on S. R. I. 4 9 may also
    be referred to in this context. However, the concept of twelve-tone
    mūcchanā-s is a significant development in the history of Indian music,
    since it is linked with the advent of fretted stringed instruments. But
    it may also be noted that it was not able to hold ground for long and
    was later abandoned by such writers as Kumbha. Even Śārṅgadeva
    did not find it necessary to expound it.
    Technical terms with regard to the practice of Tāla will be dealt
    with adequately in chapter V entitled Tālādhyāya. (60 64b)
    With respect to the final note in the ṣaḍjī, 'K' elaborates the idea:
    "in the modified form of ṣaḍjī despite the non-applicability of the rule
    (of śuddhatā) with regard to the initial note and so on, the denominative
    note is the final note in the śuddha as well as the modified forms." How-
    ever, the statement of the text that, gāndhāra and pañcama are the semi-
    final notes, applies to its modified forms only, since in the śuddha state it
    is ṣaḍja, the denominative note, that has to be the semifinal note.

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Page 305

Section 7 : Jāti-s (Melodic types) 305
The expression varāṭī dṛśyate suggests, according to 'K', that at
places ṣaḍjī appears to be varāṭī (rāga) and he says it happens when
kākalī is employed in the modified form (of ṣaḍjī).
Prastāra, in this context is defined by 'K' as "the arrangement of
notes in the (different) kalā-s". The prastāra given here pertains to the
scale of standard notes in the ṣaḍja-grāma. There are, as already pointed
out, twelve kalā-s with eight laghu-s each. Single notes are written with
a long vowel and more than one notes with a short vowel are put
together, with the same time-value. The lower register is indicated
in the text by a dot (·) above and the higher register by a vertical
stroke (।) above. The couplet (or the verse) represents the literary
composition, the text of the song and is said to be composed by Brahmā
with its syllables set to the tones distributed in the kalā-s as indicated.
The purport of the verse is as under :
Obeisance to that extra eye-lotus in the forehead of Lord Śiva,
the product of the amorous sport of Pārvatī, the bearer of the ointment
of the moist paste of unguents of the tilaka mark and the fire of the fuel
of the cupid's body.
The number of notes used in it, counted from the point of view of
assessing their relative profusion or rarity, is as under:
Ṣaḍja — 36 Pañcama — 8
Ṛṣabha — 12 Dhaivata — 16
Gāndhāra — 20 Niṣāda — 12
Madhyama — 8
Total : 112
This is the prastāra of ṣaḍjī with ṣaḍja for its fundamental note.
The rasa or the aesthetic delight in all the jāti-s is declared to be in
accordance with the fundamental note. Other prastāra-s of ṣaḍjī with
gāndhāra etc. as its fundamental notes are similarly to be conceived on
this pattern.
२. आर्षभी जातिः
आर्षभ्यां तु त्रयो ऽंशाः स्युर्निषादर्षभधैवताः ॥६४॥
द्विश्रुत्योः संगतिः शेषैर्लङ्घनं पञ्चमस्य च।
षाडवं षड्जलोपेन सपलोपादथौडुवम् ॥६५॥
मूर्च्छना पञ्चमादिश्च तालश्चच्चत्पुटो मतः।
अष्टौ कला भवन्तीह विनियोगस्तु पूर्ववत् ॥६६॥