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

336 Treatment of Svara
१३. गां मां गां सां रां गां गां सां
ता ड नं
१४. नीं नीं पां धां नीं गां गां गां
प्र ण मा मि गौ री
१५. नीं नीं धां पां धां पां मां पां
च र ण यु ग म नु प
१६. धां पां सां सां मां मां मां मां
मं
[ तत्र साकल्येन पदयोजना ]
[ सौम्यगौरीमुखाम्बुरुहदिव्यतिलकपरिचुम्बिताचितसुपादं
प्रविकसितहेमकमलनिभम् ।
अतिरुचिरकान्तिनखदर्पणामलनिकेतं
मनसिजशरीरताडनं प्रणमामि गौरीचरणयुगमनुपमम् ॥]
(xi) Gāndhārodīcyavā : (88c-91b)
In gāndhārodīcyavā, however, there are only two funda-
mental notes, viz. ṣaḍja and madhyama; the hexatone is
(caused) by the elimination of ṛṣabha and in the state of
completeness the notes other than¹ the fundamental notes
are rare, while in the case of hexatone niṣāda, dhaivata,
pañcama and gāndhāra are said to be rare;² ṛṣabha and dhaivata
may be comprehended to be in concert,³ (and its) mūrcchanā
commences with dhaivata; the tāla is known to be caccatpuṭa
and the kalā-s are said to be sixteen; its proper application
is accepted to be in the dhruvā song of the fourth act.
(88c-91b)

1. Aṁśetara, i. e. other than the fundamental notes, viz. other
   than sa and ma, i. e., ri, ga, pa, dha, ni—these are said to be
   rare in the state of completeness.
2. In the hexatonic forms only ni, dha, pa and ga are said to be
   rare, because ri is eliminated. No pentatonic forms are
   possible here as ordained by Bharata. (cf. N. S. Bom.
   Ed. p. 450).
3. This applies to the state of completeness only, for ri is elimi-
   nated in the hexatonic forms.
   Section 7 : Jāti-s (Melodic types) 337
   In this gāndhārodīcyavā the final note is madhyama, and
   ṣaḍja and dhaivata are the semifinal notes.
   Its prastāra⁴ :
4. sā sā pā mā pā dha·pa pā mā
   sau
5. dhā pā mā mā sā sā sā sā
   mya
6. dha ni sā sā mā mā pa pā
   gau ri mu kham bu
7. ni ni ni ni ni ni ni ni
   ru ha di vya ti la ka
8. mā mā dha ni·sa ni ni ni ni
   pa ri cum bi ta rci
9. mā pā mā pa·ri·ga gā gā sā sā
   ta su pa dam
10. gā ma·ga pā pa·dha mā dha·ni pā pā
    pra vi ka si ta he ma
11. rī ga sā sa·dha nī nī dhā dhā
    ka ma la ni bham
12. gā ri·ga sā sa·ni gā ri·ga sā sā
    A ti ru ci ra kan ti
13. sā sā sā mā ma·ni dha·ni ni ni
    na kha da rpa ṇa ma
14. mā pā mā pa·ri⁵·ga gā gā sā sā
    la ni ke tam
15. gā sā gā sā mā pā mā pa·ri·ga
    ma na si ja śa rī ra

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4. The purport of the song is as under :
   Obeisance to the auspicious feet (of Śiva) that are
   worshipped as they are kissed by the divine tilaka mark on the
   gentle lotus face of Gaurī and that (caused) the destruction
   of the mind-born (cupid); and also to the two matchless feet
   of Gaurī that are (resplendent) like the golden lotus in full
   bloom, that are the abode of pristine purity of the mirror-
   nails that reflect fascinating lustre.
5. Ad. ed. of S. R. reads pa-ri-ga, but ri has been marked tāra
   (high) on the basis of 'K' and K. R. for it seems their inter-
   pretation is technically sound.
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