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

332 Treatment of Svara
३. मा गा री गा मा मा सा सा
नं
४. मा मगम मा मा निघ पध पम गमम
प्र वि क सि त कु मु द
५. धा पध परि रिग मग रिग सधस सा
द ल फे न सं नि
६. निध सा री मगम मा मा मा मा
भं
७. मां मां मंगमं मंघं धंपं पंघं पंमं गंमंगं
का मि ज न न य न
८. धा पध परि रिग मग रिग सधस ता
हृ द या भि नं वि
९. मा मा धनि धस धप मप पा पा
नं
१०. मां मंगमं मां निघं पंघं पंमंगं गां मां
प्र ण मा मि दे वं
११. धा पध परि रिग मग रिग सधस सा
कु मु दा धि वा सि
१२. निध सा री मगम मा मा मा मा
नं
[तत्र साकल्येन पदयोजना]
[रजनिवधूमुखविलासलोचनं
प्रविकसितकुमुददलफेनसंनिभम् ।
कामिजननयनहृदयाभिनन्दिनं
प्रणमामि देवं कुमुदाधिवासिनम् ॥]
Section 7 : Jāti-s (Melodic types)
(x) Ṣaḍja-madhyamā : (85c-88b)
In ṣaḍja-madhyamā, (all) the seven notes are the funda-
mental notes which move in concert with each other, niṣāda
is rare¹ except when gāndhāra is the fundamental note² or
when it (niṣāda) is the sonant³; the hexatone and the penta-
tone are accepted to be (caused) by the respective elimina-
tion of niṣāda, and niṣāda and gāndhāra; both these (ni and ga)
are adverse⁴ to the hexatonic and pentatonic formations;
gīti, tāla, kalā, etc. are like those of ṣaḍjī; its mūrcchanā is
known to commence with madhyama, while its proper appli-
cation is like that of the previous one.⁵ (85c-88b)
In this ṣaḍja-madhyamā, ṣaḍja and madhyama are the final
notes, and (all) the seven notes are semifinal notes. Its
prastāra⁶:

1. ma ga sa-ga pa dha-pa ma ni-dha ni-ma
   Ra ja ni va dhū mu kha
2. mā mā sā ri-ga ma-ga ni-dha pa-dha pa
   vi la sa lo ca
3. Niṣāda is rare in the state of completeness.
4. Even in the state of completeness, if gāndhāra is the funda-
   mental note, then the rarity of niṣāda which is its consonant is
   not desirable.
5. When, however, niṣāda is the vādī (sonant) it cannot at all
   be rare.
6. The two bi-śrutic notes (dviśruti of the text), gāndhāra and
   niṣāda are not conducive to hexatonic and pentatonic forma-
   tions when they are the fundamental notes, as observed by 'K'
   because of the very fact that they are formed by the elimina-
   tion of the niṣāda and gāndhāra, and also because the same
   note cannot be the fundamental note as well as the note to be
   eliminated. Thus, the purport is that while ga and ni are the
   fundamental notes, there are no hexatonic and pentatonic
   forms. However according to the interpretation of 'S', in the
   case of hexatonic and pentatonic forms taking place, ni and ga
   are dissonant (vivādī).
7. That is, ṣaḍjodīcyavā.
8. The purport of the song is as under :
   Obeisance to Lord, the presiding spirit of the white water-
   lily (i. e. the moon) which is, as it were, the graceful eye of
   the bridal face of the night, (shining) like the froth (collected)
   upon the petals of the white water-lily in full bloom and
   which is pleasing to the heart and the looks of the lovers.