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

368 Treatment of Svara
It is well known that the vedic hymns are chanted strictly in
accordance with the rules for pronouncing the vowels and the conso-
nants in them and with the specific accent, and they cannot be changed
in contravention of those rules. Likewise, jāti-s are also to be sung
according to their rules since they are derived from the Sāmaveda; what-
ever tonal structure, tāla and literary text (pada) etc. are prescribed
for them cannot be violated in jāti-gāna.
अथाष्टमं गीतिप्रकरणम्
(i) कपाल-कम्बलगानानि
(क) कपालगानानि
शुद्धजातिसमुद्भूतकपालान्यधुना ब्रुवे ।
रागा जनकजातीनां तत्कपालेषु संमिताः ॥१॥

1. षाड्जी-कपालम्
   षड्जो ग्रहो ऽंशो ऽपन्यासो गो न्यासो ऽतिबहू गमौ ।
   अल्पा रिपनिधा लङ्घ्यो रिः, कला द्वादशोदिताः ॥२॥
   यस्मिन्षाड्जीकपालं तद् गदितं गीतवेदिभिः ।
   Section 8
   Gīti-s
   (i) The kapāla and the kambala songs : 1-14b
   (a) The kapāla-gāna : (1-10)
   Now, I am to describe the kapāla-s that have originated
   from the śuddha jāti-s. The rāga-s of the parent jāti-s bear a
   resemblance¹ to their respective kapāla-s (1)
   (1) Ṣāḍjī-kapāla
   Ṣāḍjī-kapāla is declared by the experts² to be that in
   which the initial, the fundamental and the semifinal note
   is ṣaḍja and the final note is gāndhāra; gāndhāra and madhyama
   are very profuse, ṛṣabha, pañcama, niṣāda and dhaivata are rare,
   ṛṣabha is to be overstepped and the kalā-s are said to be
   twelve. (2-3b)
2. ‘K’ interprets ‘sammitāḥ’ of text as “sadṛśākārāḥ pratīyante”,
   i. e. they appear to be similar in form.
3. Gītavedī literally would mean those who are the masters of
   vocal music, but it seems to be used in a wider sense.
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