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

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16 Treatment of Svara
(xiii) the svara-sādhāraṇa¹¹ (overlapping in note-inter-
vals),
(xiv) the jāti-sādhāraṇa¹² (overlapping in jāti-s),
(xv) the proper use of kākalī-niṣāda¹³ and antara-gāndhāra,
(xvi) the definition of varṇa¹⁴ (colour or pattern of tonal
movement),
(xvii) sixtythree alaṅkāra-s¹⁵ (patterns of tonal phrases),
(xviii) the thirteen characteristic features of jāti-s¹⁶
(melodic types), graha (initial note), aṁśa¹⁷ (funda-
mental note) etc.,
(xix) the kapāla and kambala songs, and
(xx) the various types of gīti-s¹⁸.
These form the collection of topics under study. (31-36)
In the chapter entitled 'Rāgaviveka' (lit. the discernment
of rāga-s) we shall respectively speak of :—
Grāmarāga-s, uparāga-s, rāga-s, bhāṣā-s, vibhāṣā-s, antara-
bhāṣā-s and rāgāṅga-s in full detail and the bhāṣāṅga-s, upāṅga-s
and the kriyāṅga-s, in their essentials. (37-38).
11. Svarasādhāraṇa is defined later in the text; but here it would
suffice to say that it comprehends a pitch interval that is
commonly incorporated by both the tones involved.
12. Among the jāti-s of the same grāma having the same tone as
the fundamental note, the identical melodic presentation that
obtains between them is called jāti-sādhāraṇa (See 10-11b of
Sec. V).
13. Antaragāndhāra and kākalī-niṣāda are the pitch-intervals
obtaining in the svara-sādhāraṇa, located at the distance of
2 śruti-s from gāndhāra and niṣāda respectively.
14. Varṇa signifies 'type of tonal movement', viz. ascending,
descending, etc.
15. Alaṅkāra signifies a melodic phrase, a definite arrangement of
varṇa-s.
16. Jāti represents the first written record of a scientific study
of the melodic patterns that later on developed into rāga-
structures. Jāti, therefore, is conceived as an archetype of
melodic patterns, the mother of rāga-s.
17. Graha and aṁśa are specific notes of a rāga-structure which are
defined later in the text.
18. Gīti signifies the act of singing, comprehending the tonal,
rhythmic and verbal structure of a musical composition.

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Section I : Introductory 17
Then in the chapter entitled 'Prakīrṇaka' (lit. miscella-
neous) will be described :—
(i) Vāggeyakāra¹⁹ (master composer),
(ii) Gāndharva,²⁰
(iii) Svarādī²¹
(iv) Songster,
(v) Songstress and
(vi) the good and bad characteristics of the two (i. e.,
iv & v),
(vii) the classification of voice and
(viii) the good and bad qualities of voice,
(ix) Śārīra²² and its
(x) good and bad qualities,
(xi) Gamaka²³ (shaking on tones), i. e., grace,
(vii) Sthāya²⁴ (specific features of tonal rendering),
(xiii) Ālāpti²⁵ and
(xiv) the nature of group performance. (39-41b)
The following topics will be dealt with by the learned
Śārṅgadeva in the fourth chapter entitled 'Prabandha'²⁶
(musical composition) :
19. Vāggeyakāra, a master composer, is capable of composing not
only the tonal structure of a musical composition but also the
verbal structure, i. e., the text of the melody.
20. One who is proficient in mārga as well as deśī, music, is called
gāndharva.
21. Svarādi is the performer of deśī music only.
22. Śārīra is peculiarly an Indian concept and has no counterpart
in western terminology. The author elsewhere defines it as
"the built-in capacity of voice (or the entire organism respon-
sible for the production of voice) for musical application (or
for the delineation of a rāga etc.) without any training" (cf.
S.R. III. 82).
23. Gamaka is a graceful shake.
24. Sthāya is an organic part (avayava) of rāga. (See S.R. III
97c-98).
25. Ālāpti is the delineation of rāga.
26. Prabandha is a musical composition, but in this chapter, the
author deals with only vocal compositions and their classi-
fications.