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

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124 Treatment of Svara
Thus, the exact number²⁶ of śruti-s is clearly evidenced
by their fusion with the twentytwo śruti-s of the invariable
vīṇā brought about by the process of fourfold string move-
ment. The retrograde movement²⁷ may not be carried
beyond this²⁸, as that would mar the beauty.²⁹ (21c-22).
(i) Though it is possible to fix 22 strings on vīṇā, yet it is diffi-
cult to do so; and it is even more difficult to establish the
different notes on them by tonal consonance.
(ii) It has been suggested that the first string should be fixed so
as to produce the lowest possible sound. This is, at best, a
vague direction.
(iii) Taking it for granted that the lowest sound as suggested
refers to the pitch below which sound does not produce any
resonance and thus ceases to be musical, the problem yet is
how to fix the second string in order to sound a little bit
higher than the lowest and so on. That, he says, is to be
determined by ensuring that continuity in-between the two
is maintained and any intervening sound is eliminated or
disallowed to intrude. This leads to the question whether
it is practicable not to listen to the intervening pitch-points
or musical microtones. Obviously such subtle musical
sounds are discernible by trained ears. Therefore, the
procedure suggested by the author does not seem to be
satisfactory.
Moreover, the statement that, "the sound produced by them (the
22 strings fixed by the above procedure) is known as śruti", is technically
unsound, for śruti-s that are also called microtones, are very narrow
pitch-relations, perceived by trained ears with great difficulty; they
cannot thus be determined so easily by fixing the strings a little bit
higher successively since it does not involve a definitely measured pitch.
(10c-13b)
While Pt. Omkarnath Thakur suggests his own procedure for
demonstrating 22 śruti-s (cf. Praṇavabhāratī, pp. 65-66), Dr. K. C. D.
Brihaspati suggests quite a different interpretation of the text which
enables him to steer clear of some of the difficulties mentioned above
26. The iyattā of the text has the sense of numerical extent.
27. Apakarṣa is the lowering of the notes in pitch.
28: This refers to the fourth movement.
29. Rakti of the text literally means delightfulness which is beauty.

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Section 3 : Nāda, Śruti and Svara
(cf. Saṅgītacintāmaṇi, pp. 191, 192) the purport of which is presented
as under :
(i) The procedure of the fourfold string movement described
above is a preliminary exercise to fix the strings approximately
in order to establish the seven notes later on the basis of the
consonance of notes without much difficulty.
(ii) Śārṅgadeva has adapted this procedure from Mataṅga for the
above purpose. The above contention is demonstrated to be
true by the second line of the verse 13 (Vīṇādvaye svarāḥ
sthāpyāstatra ṣaḍjaścatuḥśrutiḥ). He clearly states that the notes
have (yet) to be established on the two strings.
(iii) He has used the word śruti in its primary meaning of an
audible sound, and not in the technical sense, for otherwise
he ought to have named the śruti-s there and then thus rende-
ring the fourfold string movement and the process of establi-
shing the notes unnecessary.
Moreover he elsewhere points out that in keeping with the spirit
of the age, Śārṅgadeva has purposefully clothed his expression in the
blanket of ambiguity. This is how the subject matter has been dealt
with by the modern scholars.
The śruti-s when specifically grouped, manifest the seven notes of
the scale. Incidentally, the Indian theory of music does not take the
octave into account as a general rule. We may have the occasion to
reflect upon the thinking that has been done regarding the relationship
obtained between svara (i. e., a note) and śruti. It may also be worth-
while to point out that the concept of svara is not at once identical with
the concept of note, though generally the term is rendered into English
as 'note' or 'tone' according to the context. The essential difference
that can at once be pointed out between 'svara' and 'note' is that,
whereas the pitch of the notes is fixed, that of svara-s is not absolutely
fixed, though it remains invariably the same in relation to the other of
the scale. An Indian performer is free to fixe his fundamental note
according to his own convenience. This goes to make all the difference.
Another important difference is that svara can roughly be said to signify
'duration in pitch' rather than a point. This factor will be further
clarified as we proceed with the text. However in English the words
'note' and 'tone' are used with some inexplicable discrimination in this
translation.
For the time being, suffice it to say that, a number of śruti-s in
successive combination go to bring a tone into being. Now, the author
concerns himself with establishing the seven notes of the scale on the