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

340 Treatment of Svara
hexatone and the pentatone are formed by the respective
elimination of ṛṣabha, and ṛṣabha and dhaivata; niṣāda and
dhaivata are profuse³ and pañcama as the fundamental note
does not admit the hexatone⁴, while ṣaḍja, niṣāda, madhyama
and pañcama (as fundamental notes) are not conducive to
pentatonic formation⁵; ṣaḍja and gāndhāra are in concert with
each other⁶; the pañcapāṇi etc. are like those of ṣāḍjī and the
mūrcchanā commences with ṛṣabha; its proper application is in
the dhruvā (song) of the third act. (91c-94)
In this rakta-gāndhārī, gāndhāra is the final note and
madhyama is the semifinal note. Its prastāra⁷ :

1. pā nī sā sā gā sā pā nī
   Tam ba la ra ja nī
2. sā sā pā pā mā mā gā gā
   ka ra ti la ka bhū ṣa
3. Niṣāda and dhaivata are profuse. 'K' comments on this state-
   ment as follows. Niṣāda is a fundamental note and, as such,
   is naturally profuse, and yet if any specific mention is made
   about it, obviously it has been done to indicate that it is very
   profuse, i. e. more than can otherwise be expected in case of a
   fundamental note. Again dhaivata is the maker of the penta-
   tonic form, and as such its profusion is out of question in the
   pentatonic forms, while in the hexatonic and complete forms
   as well it must ordinarily be weak. So its profusion is ordained
   as an exception by Bharata: "Dhaivata and niṣāda will be
   strong" (as quoted by 'K' and N. S. Bom. Ed., pp. 449, 450).
   However, in the critical edition of G. O. S. the following
   reading is found which seems to be quite appropriate.
   "Dhaivata is strong here, though it becomes weak when
   eliminated (N. S. XXVIII 116, p. 58).
4. This is a jāti of madhyama-grāma in which pañcama and ṛṣabha
   are consonant. If pañcama be the fundamental note, ṛṣabha
   cannot be eliminated, and the hexatone is formed by the
   elimination of ri, consequently it is not formed.
5. Similarly, sa, ni, ma and pa as fundamental notes do not
   tolerate the elimination of ri and dha for forming pentatone
   forms, which are therefore possible only with gāndhāra as the
   fundamental note.
6. The sannidhi and melana of sa and ga with other notes have
   already been spoken of; their saṅgati spoken of here, as
   observed by 'K' is between them 'a mutual relation'. It seems
   that in Kallinatha's view sannidhi and melana are forms of
   saṅgati.
7. The purport of the song reads as under:
   Obeisance to that (Śiva) who is decorated by the ornament
   of the new moon for his tilaka mark and who is delighting to
   the lotus face of Gaurī.
   Section 7 : Jātis (Melodic types) 341
8. mā pā dha pā mā pā dha-pa ma-ga
   ṇa vi bhū
9. mā mā mā mā mā mā mā mā
   tim
10. dhā nī pā mā-pa dhā nī pā pā
    0
11. mā pā mā dhā-ni pā pā pā pā
    0
12. rī gā mā pā pā pā mā pā
    Pra ṇa mā mi gau rī
13. rī gā mā pā pā pā mā pā
    va da na ra vin
14. pā pā pā pa pā pā pā pa
    da
15. rī gā sā sā rī gā gā ga
    pri ti ka ram
16. gā gā pā dha-ma dhā ni-dha pā pa⁸
    0
17. mā pā mā pa-ri-ga gā gā ga ga
    0
18. कैशिकी जातिः
    कैशिक्यामृषभान्ये ऽंशा निधावंशौ यदा तदा ।
    न्यासः पञ्चम एव स्यादन्यदा द्विश्रुतौ मतौ ॥९५॥
    अन्ये तु निगपन्यासान्निधयोरंशयोर्विदुः ।
    रिलोपरिधलोपेन षाडवौडुवितं मतम् ॥९६॥
    रिरल्पो निपबाहुल्यमंशानां संगतिर्मिथः ।
    षाडवोडुविते दृष्टः क्रमात्पञ्चमधैवतौ ॥९७॥
    षाड्जीवत्पञ्चपाण्यादि गान्धारादिस्तु मूर्च्छना ।
    पञ्चमप्रेक्षणगतध्रुवायां विनियोजनम् ॥९८॥
19. Ad. ed. of S. R. reads pa pa which has been modified as pa pa
    with tāra sign on the basis of 'K' and K. R. since that is
    technically sound.