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

( xlviii )

1. Prasannādi ... (9ab)
2. Prasannānta ... (9c)
3. Prasannādyanta ... (9d-10a)
4. Prasannamadhyā ... (10b-d)
5. Kramārcitā ... (11-12)
6. Prastāra ... (13ab)
7. Prasāda ... (13cd)
   (e) The embellishments of the ascendant
   tone-pattern ... 14-26
8. Vistīrṇa ... (16)
9. Niṣkarṣa and gātravarna ... (17-18b)
10. Bindu ... (18c-19b)
11. Abhyuccaya ... (19cd)
12. Hasita ... (20)
13. Preṅkhita ... (21)
14. Ākṣipta ... (22)
15. Sandhipracchādana ... (23)
    9-12. Udgīta, udvāhita, trivarṇa
    pṛthagveṇī ... (24-25)
    (f) The embellishments of the descendant tone-
    pattern ... 26ab
    (g) The embellishments of the circulatory
    (sañcārī) tone-pattern ... 26c-53
16. Mandrādi ... (30)
    2, 3. Mandra-madhya and
    mandrānta ... (31ab)
17. Prastāra ... (31c-32b)
18. Prasāda ... (32c-33b)
19. Vyāvṛtta ... (33c-34)
20. Skhalita ... (35)
21. Parivartaka ... (36)
22. Ākṣepa ... (37c-38b)
23. Bindu ... (37a-c)
24. Udvāhita ... (38c-39b)
25. Ūrmi ... (39c-40c)
26. Sama ... (40c-41b)
27. Preṅkha ... (41c-42b)
28. Niṣkūjita ... (42b-43a)
29. Śyena ... (43b-44a)
30. Krama ... (44b-45a)
31. Udghaṭṭita ... (45b-46b)
32. Rañjita ... (46c-47a)
    ( xlix )
33. Saṁnivṛttakapravṛttaka ... (47b-48b)
34. Veṇu ... (48c-49b)
35. Lalitasvara ... (49c-50b)
36. Huṅkāra ... (50c-51b)
37. Hrādamāna ... (51c-d)
38. Avalokita ... (52)
    Seven other embellishments ... 54-46b
39. Tāramandra-prasanna ... (56-57b)
40. Mandratāra-prasanna ... (57c-58b)
41. Āvartaka ... (58c-59b)
42. Sampradāna ... (59c-60b)
43. Vidhūta ... (60c-61b)
44. Upalola ... (61c-62b)
45. Ullasita ... (62c-63b)
    (iii) The object of tonal embellishments ... 64c-65b
    Section 7 : Jāti-s (Melodic types) 1-115b
    A. Introductory ... 1-28
    (i) Śuddha (primary) jāti-s ... 1-3b
    (a) The seven śuddhā jāti-s ... (1-2a)
    (b) The definition of śuddhatā ... (2b-3b)
    (ii) Vikṛta (modified) jāti-s ... 3c-7
    (iii) Saṁsargajā-vikṛtā (associate modified jāti-s) ... 8-16
    (iv) The grāma-wise distrbution of jāti-s ... 17-18a
    (v) Complete, hexatonic and pentatonic jāti-s ... 18b-20
    (vi) The rule pertaining to overlapping of notes in
    certain jāti-s ... 21-24b
    (vii) The number of fundamental notes in different
    jāti-s ... 24c-28
    B. Thirteen factors characterising jāti-s ... 29-59b
46. The initial note (graha) ... (31)
47. The fundamental note (aṁśa) ... (32-34)
48. The higher pitch range (tāra) ... (35-36)
49. The lower pitch range (mandra) ... (37-38b)
50. The final note (nyāsa) ... (38c-40)
51. The semifinal note (apanyāsa) ... (41-47b)
52. Saṁnyāsa ... (47c-48a)
53. Vinyāsa ... (48b-d)
54. Profusion (bahutva) ... (49)
55. Rareness (alpatva) ... (50-51)
56. Antaramārga ... (52-53)
    12 & 13. Hexatonic (ṣāḍava) and pentato-
    nic (auḍuva) formation ... (54-59b)