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

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128 Treatment of Svara
The effect of fourfold string-movement

No. of note-strings | 4 | 7 | 9 | 13 | 17 | 20 | 22 | No. of śruti-s demonstrated | Remarks

The original position of notes on the scale sa ri ga ma pa dha ni —
1st movement No effect on the notes
2nd movement ga ni 4 ga and ni merge with ri and dha
3rd movement ri dha +6 ri and dha merge with sa and pa
4th movement ma pa sa +12 ma, pa and sa merge with ga, ma and ni

(Chart 4)
Thus, it is contended that, since by this method the number of
śruti-s that could be fixed with and that constitute the seven notes of
the scale is found to be twentytwo only, it is evident that śruti-s are
twentytwo The purpose of this demonstration is to verify and thereby
to confirm the number of śruti-s, i. e., twentytwo. The validity of this
process offering rough evidence to prove the number of the śruti-s lies in
the fact that in the second movement the notes ga and ni are fused with,
i. e , sound similar to, the notes ri and dha, thereby proving that the
note-intervals ri-ga and dha-ni are of two śruti-s each. Similarly, the
śruti-s of other notes are also verified as shown in the above chart, esta-
blishing in consequence the number of śruti-s as twentytwo.
The merger of ga and ni with ri and dha in the second movement
and of ri and dha with sa and pa in the third is quite intelligible. But
in the fourth movement sa, ma and pa fuse with ni, ga and ma : the
merger of ma and pa with ga and ma is also understandable; but the
question is how does sa merge with ni, since the string for sa was tuned
to produce the lowest possible tone that could be audible ? The ques-
tion as posed by ‘K’ is quite natural and if the formula for the string-
movement is strictly followed, the fourth movement cannot be practically
demonstrated on a vīṇā of twentytwo strings; firstly, because there is no
other string preceding the first one on which sa is placed in the third
movement; and secondly, there is no lower tone possible. ‘K’ meets
this objection by suggesting that if the lower octave (used for the saptaka)

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Section 3 : Nāda, Śruti and Svara 129
here is repeated, the string for ni can be conceived as the one preceding
the string for sa; or alternatively, the sa can be conceived to have merg-
ed with the ni of a still lower octave. However, the difficulty is not with
the technique of the demonstration and only points out the limitation of
the equipment.
Kumbha of the 15th century who has elaborated upon Śārṅgadeva
informs us about the functions of the fourfold string-movement as under:
“The delimitation of the number of śruti-s, gradation of pitch with
reference to tones and the comprehension of kākalī etc. (constitute)
the functions of the string-movements.” (S. Raj. II. 1.1.115). (19c-21b)
The net result of the fourfold string-movement is that the number of
śruti-s has been verified and demonstrated to be twentytwo only. ‘K’
raises a hypothetical question which is adequately answered by Śārṅga-
deva in verse 22. One can well say, “If 22 śruti-s could be obtained by
four string-movements, why not carry out the fifth movement and fix the
number of śruti-s at twentynine ?” It is as if in anticipation of such a
question that, according to ‘K’, the author found it necessary to forbid
any further movement; for that would defile the aesthetic value of notes.
Dwelling on this theme, ‘K’ further explains that a fifth string-move-
ment cannot possibly be conceived, for the note-intervals are finite and
are constituted by different numbers of śruti-s such as 2, 3 and 4, making
them resonant, delightful and pleasing tones. Thus, the three categories
of notes with 2, 3 and 4 śruti-s each have been fused in three different
movements leaving no scope for any further lowering of pitch. ‘S’ too
points out that a svara (note) is defined to be pleasing by itself and
therefore, if another movement is carried out, that would disturb
the constitution of individual notes which would consequently destroy
their essential quality of being pleasing by themselves. Incidentally, it
is the scale of ṣaḍja-grāma which is the basis of calculations here; and
in this scale the biggest śruti-interval is that of 4 śruti-s. (21c-22)
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