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

310 Treatment of Svara
(iii) Gāndhārī : 67-70b
Gāndhārī has fundamental notes¹ barring ṛṣabha and
dhaivata, and its final and fundamental notes² are in concert
(saṅgati) with the rest of the other notes. From dhaivata one
should proceed to ṛṣabha.³ The hexatonic and the pentatonic
(forms) are (caused) by the elimination of ṛṣabha and dhaivata
respectively. Pañcama is incompatible⁴ with hexatones and
niṣāda, ṣaḍja, madhyama and pañcama as fundamental notes are
not conducive to pentatonic formations. (Its) kalā-s are said
to be sixteen, (its) mūrcchanā commences with dhaivata and the
tāla is accepted to be caccatpuṭa. (Its) proper application is
in the dhruvā songs of the third act. (67-70b)
In this gāndhārī, gāndhāra is the final note, ṣaḍja and
pañcama are the two semifinal notes, gāndhāra-pañcama⁵, deśī
and velāvalī are seen.⁶ Its prastāra⁷ :

1. That is, sa, ga, ma, pa, ni.
2. Gāndhāra is its final note; so, ga or sa, ga, ma, pa, ni when any
   of them is the fundamental note, these two notes are in con-
   cert with notes other than these two.
   3 ‘K’ infers from this rule that perhaps in the state of complete-
   ness of gāndhārī, ṛṣabha and dhaivata may be in concert.
3. ‘K’ here, comments : “when pañcama is the fundamental note,
   gandhari is naturally complete, i. e. no other forms are possible
   with ni, sa and ma as the fundamental notes; and hence it is
   only when gāndhāra is the fundamental note that all the three
   formations, viz. complete, hexatonic and pentatonic are
   possible.”
   ‘K. R.’ rightly points out that, “this is a madhyama-grāma
   jāti. In the madhyama-grāma pa has ri as its saṁvādī (conso-
   nant), and in this jāti, the aḍava is by dropping ri. But
   saṁvādī (consonant) shall not be dropped. So there is no
   ṣāḍava when pa is the aṁśa. For the same reason, when pa is
   aṁśa there can be no auḍuva (pentatone) which is effected by
   dropping ri and dha. As for there being no auḍuva when the
   other svara-s are aṁśa-s it is based on the words of Bharata.”
   (S. R. Vol. I, Chap. I. p. 104). This observation is based on
   Kallinātha’s comments.
4. Gāndhāra-pañcama is a grāma-rāga.
5. That is, they partly appear.
6. This represents the prastāra of gāndhārī with gāndhāra as its
   fundamental note.
   The purport of the verse is as under ;
   Section 7 : Jāti-s (Melodic types) 311
7. gā ga sā ni sā gā gā ga
   E tam
8. gā ga-ma pā pā dha-pa mā ni-dha ni-sa
   ra ja ni va dhū mu kha
9. ni-dha pa-ni mā ma-pa-ri gā gā mā gā
   vi bhra ma dam
10. gā ga-ma pā pā dha-pa mā ni-dha ni-sa
    ni śa ma ya va ro ru
11. ni-dha pa-ni mā ma-pa-ri mā gā mā sā
    bha⁸ va mu kha vi la sa
12. gā sā gā gā gā ga-ma gā ga
    va pu śca ru ma ma la
13. gā ga-ma pā pā dha-pa mā ni-dha ni-sa
    mṛ du ki ra ṇa
14. ni-dha pa-ni mā ma-pa-ri gā gā gā gā
    ma mṛ ta bha vam
15. rī gā mā pa-dha rī gā sā sā
    Ra ja ta gi ri śi kha ra
16. nī nī nī nī nī nī nī nī
    ma ṇi śa ka la śaṁ kha
    Listen, O maiden with beautiful thighs!* I bow down to
    this moon which presents as it were the illusion of being the
    face of the night appearing as a bride, which is beautiful on
    account of its being the embodiment of the lustre of Śiva's
    face, which emits pure and soothing rays, which is the source
    of nectar, which (shines) like the crystals of the crest of a
    silver mountain, a conch-shell and a streak of (pearl) teeth of
    a beautiful damsel, and which enhances (the charm of) the
    noise of sportive amorous quarrels.
17. The Adyar ed. of S. R. as well as 'K' read tava mukha (meaning
    'your face') but S. Raj reads it as Bhavamukha, i. e. Śiva's face.
    This has been taken as an error of the scribe and the reading
    bhavamukha has been adopted in our text for that is more
    cogent.

• Comp. S. Raj (Vol. I, p. 211) which reads niśātamo-apanudam
  (meaning, 'the dispeller of the darkness of night') instead of
  niśāmaya varoru as printed in the Adyar ed. of S. R. and also
  followed by 'K'. The reading of S. Raj is definitely better
  and more befitting in the context of a prayer. Obviously both
  are deriving from a common source of tradition.