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

140 Treatment of Svara
The five śruti-classes are further subdivided each having quite a few
varieties. That means, each śruti belongs to a class which implies a
class attribute common to all the śruti-s of the class and that class
comprehends a few varieties implying special traits along with the class
character. This specific character seems to be the association of a
particular class-śruti with particular notes. For example, dīptā is asso-
ciated with four notes and is said to be of four varieties, āyatā is asso-
ciated with five notes and has five varieties and so on, as it is illustrated
in the following chart (No. 7).
The chart illustrates the subdivisions of the śruti-classes, represent-
ing their class characters as distributed among the svara-s, indicating
thereby their specific traits. The names in the squares pertain to the
class subdivisions. The number alongside indicates the position of the
śruti in the śruti-structure of the svara. The chart illustrates the subject
matter of verse Nos. 35b-38 as well.
Subdivisions of śruti-classes distributed among the svara-s
Svara or note / śruti class names signifying general characters
signifying specific / dīptā | āyatā | mṛdu | madhyā | karuṇā
Ṣaḍja tīvrā-1 kumudvatī-2 mandā-3 chandovatī-4
Ṛṣabha raktikā-3 rañjanī-2 dayāvatī-1
Gāndhāra raudrī-1 krodhā-2
Madhyama vajrikā-1 prasāriṇī-2 prīti-3 mārjanī-4
Pañcama sandīpanī-3 kṣiti-1 raktā-2 ālāpinī-4
Dhaivata rohiṇī-2 ramyā-3 madantī-1
Niṣāda ugrā-1 kṣobhiṇī-2
(Chart 7)
(31b-35a)
Chart No. 7 graphically illustrates the position of these particular
śruti-s in the different note-intervals. The names of these śruti-s are
suggestive of their aesthetical value as related to their tonal quality.
Contemplating upon the value or the purpose of classification of śruti-s
briefly, ‘S’ suggests that they are perhaps designed to arouse the feelings
or the affections implied by their names. This hypothesis is quite
plausible and the whole scheme of this śruti-classification needs to be
scientifically investigated. (35 b-38)
Section 3 : Nāda, śruti and svara
(v) स्वराणां स्थानत्रयम्
ते मन्द्रमध्यताराख्यस्थानभेदात्त्रिधा मताः ।
(v) Three sthāna-s (registers) of svara-s : (39ab)
These (svara-s) are considered as threefold according to
the different registers known as mandra, madhya and tāra, i. e.,
low, medium and high. (39ab)
Having dealt with the śruti-s, the śruti-classes and the develop-
ment of notes out of them, the author now proceeds to demonstrate the
differentiation and the classification of notes.
In the first instance the notes are classified according to their
sthāna i. e., the place of perceptible effort for voice-production in the
human organism. It has already been pointed out by the author (verse 7
ante) that nāda manifests itself in three places, viz., in the region of the
heart, throat and the cerebrum. These are the three sthāna-s from
which notes are produced. Corresponding to these three, the notes
are classified in three registers or to speak loosely, three octaves, viz.,
mandra, madhya and tāra. Mandra represents what is known as chest-
voice, madhya is throat-voice and tāra is the high (head).
(vi) द्वादश विकृतस्वराः
त एव विकृतावस्था द्वादश प्रतिपादिताः ॥ ३९॥
च्युतोऽच्युतो द्विधा षड्जो द्विश्रुतिविकृतो भवेत् ।
साधारणे काकलीत्वे निषादस्य च दृश्यते ॥४०॥
(vi) Twelve modified notes : 39c-46b
These notes, in their modified form, are established as
twelve. (39cd)
Ṣaḍja, modified by two śruti-s in two different ways is
(called) lowered ṣaḍja¹ and unmoved² ṣaḍja respectively by the

1. Cyuta literally means sub-standard, fallen or lowered in pitch.
2. Acyuta is steadfast, standard and unmoved.