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

328 Treatment of Svara
षाड्जोदीच्यवतीतालादि गान्धारादिश्च मूर्च्छना ।
द्वितीये प्रेक्षणे गाने ध्रुवायां विनियोजनम् ।।८३।।
अस्यां षड्जोदीच्यवायां मध्यमो न्यासः । षड्जधैवतावपन्यासौ ।
अस्याः प्रस्तारः—
९. षड्जोदीच्यवा
१. सा सा सा सा मां मां गां गां
शै ले
२. गा मा पा मा गा मा मा धा
श सू नु
३. सा सा मा गा पा पा नी धा
शं ले श सू नु
४. धा नी सा सा धा नी पा मा
प्र ण य प्र सं ग
५. गां सा सा सा सा सा सा गां
स वि ला स खे ल
६. धा धा पा धा पा नी धा धा
न वि नो दं
७. सा गां गां गां गां गां सा सा
अ धि क
८. नी धा पा धा पा धा धा धा
मु खें दु
९. सां सां मा गा पा पा नी धा
अ धि क मु खें दु
१०. धा नी सां सां धा नी पा मा
न य नं न मा मि
Section 7 : Jātis (Melodic types) 329
११. गां सा सा सा सा सा सा गां
दे वा सु रे श
१२. धा धा पा धा मां मां मां मां
त व रु चि रं
शैलेऽक्षराभ्यां प्रथमा द्वितीया तु शसूनुना ।
तैः पञ्चभिस्तृतीया स्यात्सप्तमी त्वधिकाक्षरैः ।।८४।।
मुखेन्दुना ऽष्टमी त्वस्यां षड्भिस्तैर्नवमी कला ।
[तत्र साकल्येन पदयोजना]
[शैलेशसूनुप्रणयप्रसङ्गविलासखेलनविनोदम् ।
अधिकमुखेन्दुनयनं नमामि देवासुरेश तव रुचिरम् ॥]
(ix) Ṣaḍjodīcyavā : (81-85b)
In ṣaḍjodīcyavā the fundamental notes are said to be
ṣaḍja, madhyama, niṣāda and dhaivata which are mutually in con-
cert with each other; there is a profusion of the low gāndhāra¹
and high ṣaḍja and ṛṣabha²; the hexatone is accepted to be
(caused) by the elimination of ṛṣabha, and the pentatone by
that of ṛṣabha and pañcama; no hexatone is (possible) with
dhaivata as the fundamental note³, the gīti⁴ and tāla etc. are

1. Even though gāndhāra is not a fundamental note in ṣaḍjodīcyavā
   yet it is profuse in the lower register as laid down by Bharata
   who says : "Ṣaḍja, ṛṣabha and gāndhāra have to be strong" (cf.
   N. S , G. O. S. Ed. XXVIII 109 p. 57).
2. Ṣaḍja and ṛṣabha are profuse in the higher register; for, as
   observed by 'K', ṛṣabha is the maker of the hexatone and the
   pentatone, and therefore in the state of completeness, it is rare
   along with pañcama according to Mataṅga (as quoted by him).
   Thus the statement of Mataṅga is valid, according to 'K',
   with regard to the low and the middle registers, and that of
   Bharata (quoted in 1 above) with regard to the high register.
   Ṣaḍa is one of the fundamental notes and is naturally profuse,
   but the provision with regard to its profusion in the higher
   register shows that it is comparatively more profuse there,
   than in the other two places.
3. Because ṛṣabha, being its consonant, cannot be eliminated.
4. The Adyar ed. of S. R. reads gīta, which has been changed
   here to gīti, as for example is the case in the following ṣaḍja-
   madhyamā. Moreover, dhruvā-gāna is mentioned separately in