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

144 Treatment of Svara
Madhyama, like ṣaḍja is (modified) in two ways viz., by
taking resort to the process of 'antara' and that of sādhāraṇa'.
(42cd).
Pañcama is of three śruti-measure in the madhyama-grāma,
while in the madhyama-sādhrāaṇa¹⁰ (the overlappng of
madhyama), gaining one śruti from madhyama it extends to
four śruti-s; and is thus modified in two ways. (42-44b)
Dhaivata of madhyama-grāma is modified to be of four
śruti- interval. Niṣāda is modified in two ways viz., in its kaiśika
and kākalī forms having three and four śruti-s respectively.
And so they make twelve modified forms, which along with
the seven standard¹¹ notes become nineteen in all. (44c-46b).
two ways viz. (i) by yielding one śruti to gāndhāra and one to pañcama,
an example of cyuta (lowered)-madhyama, and (ii) by affording its two
initial śruti-s to gāndhāra, an example of acyuta (unmoved)-madhyama.
The former mode is called madhyama-sādhāraṇa (the overlapping of
madhyama) and the latter is known as antara-sādhāraṇa.
Thus, when gāndhāra is modified by the overlapping of madhyama,
it gains its initial śruti and is thereby constituted of three śruti-s viz.,
the 8th, 9th and 10th; and when it is modified by the medial position of
gāndhāra (antaratva) it appropriates two initial śruti-s of madhyama to
itself and the number of its śruti-s swells to four, viz, 8th to 11th. This
latter gāndhāra of four śruti-s is called antara gāndhāra. Thus gāndhāra
has two modified forms, viz., sādhāraṇa (i.e., the one consequent upon
madhyama-sādhāraṇa) and antara (i e., antara-gāndhāra) constituted respec-
tively by śruti-s numbering 8th to 10th and 8th to 11th from the first of
ṣaḍja. (41-42b)
In the modification of gāndhāra, the two processes of the overlap-
ping of madhyama and the medial position of gāndhāra have been explain-
ed with reference to gāndhāra. Now, we have to consider them from
the point of view of madhyama.
Madhyama is constituted by the śruti-s numbering 10 to 13 in the
unmodified series. By the process of overlapping ma lends 10th śruti to
10. Kaiśika is another name for sādhāraṇa.
11. The word śuddha has to be interpreted with reference to the
word vikṛta. Vikṛta, simply means modified and therefore śuddha would
mean unmodified. But since that is a negative expression and the
general tenure of the term śuddha is rather positive, it seems it would
be better to render it as 'standard'.
SECTION ...
ga and 13th śruti to pa and retains 11th and 12th śruti-s itself. In the
process of the medial movement (antaratva) of gāndhāra ma yields 10th
and 11th śruti-s to ga, and retains only 12th and 13th śruti-s. So, these
are the two modified forms of madhyama, constituted respectively of
11th, and 12th, and 12th and 13th śruti-s. (42cd)
There is an obvious similarity between the modifications of ṣaḍja
and madhyama as previously pointed out. With respect to the grāma-s,
we are going to be informed adequately in the next Section of this chap-
ter. For the present, it may be understood roughly that a grāma signi-
fies a series of notes related in a certain order. Two such scales were
in practice. viz., ṣaḍja-grāma, having ṣaḍja as its prominent note and
madhyama-grāma, having madhyama as its prominent note. Pañcama is
established on the 17th śruti in ṣaḍja-grāma and on the 16th śruti in
madhyama-grāma. This is one way how the two grāma-s are distinguished
from each other; of course this also affects the relative position of other
notes which we shall see in due course.
Now, with this background we can follow the text. In the
madhyama grāma, pañcama comprises the 14th, 15th and the 16th śruti-s,
whereas in the ṣaḍja grāma, it also has the 17th śruti which is consider-
ed to be the note-śruti; and therefore, the '16-śruti' pañcama is one of the
modifications of the standard pañcama. Another modification occurs by
the process of the overlapping of madhyama (i e madhyama-sādhāraṇa),
when it gives up 13th śruti which is absorbed by the pañcama of
madhyama grāma. The standard form of the pañcama of madhyama-grāma
comprises of three śruti-s only, and when it gains one śruti from
madhyama its extent widens to four śruti-s, i. e., 13th to 16th, and this
constitutes another modification of pañcama. (42c-44b)
While pañcama is established on the 16th śruti in madhyama-grāma,
the 17th śruti which is the note-śruti of pañcama in ṣaḍja-grāma is released
and absorbed by dhaivata, which consequently comprises the śruti-s
numbering 17 to 20 i.e., four in contrast with the standard three viz.
18 to 20 of the ṣaḍja-grāma. Thus, this is the only modification of
dhaivata.
Kaiśika is another name for sādhāraṇa Kaiśika-niṣāda which is a
product of the overlapping of ṣaḍja when it yields its initial śruti to
niṣāda, swelling it to three śruti-s in extent viz., 21st and 22nd and 1st.
Similarly, niṣāda is transformed into kākalī-niṣāda when it gains two
initial śruti-s of ṣaḍja and comprises 21st, 22nd and 1st and 2nd śruti-s.
Thus niṣāda has two modified forms respectively known as kaiśika-niṣāda
and kākalī-niṣāda.
The twelve modified notes as related to the standard (śuddha) notes
can be studied at a glance from the following chart :
10

146 Treatment of Svara
Modified notes as related to standard notes in terms of śruti-s

1. Cātaka is a bird of poetic convention. It is held that this
   bird takes only rain-water. Kunhan Raja's note in this
   respect is quite interesting and is reproduced verbatim:
   "Cātaka is a mythological bird supposed to have holes in the
   neck, and as such, unable to drink water in the ordinary
   way; they drink water remaining with their breast upwards
   when rain falls, so that the water does not leak out through
   the holes."
2. K. R. renders it as 'ram'.
3. Heptad is used as an equivalent of Sanskrit saptaka, which is
   conceived in place of the octave.

148 Treatment of Svara
He also relates certain psychological states of mind, aesthetic
moods with the notes and the animals as reproduced in the following
table. The rasa-s or the aesthetic moods are in theory attributed to
various notes by our author as well.
Notes as related to the birds and animals and the rasa-s

1. Vadī, literally means speaker i. e., the note that frequently sounds.
2. Saṁvadī, literally means the corresponding note, the note that converses in tune with the sonant, with the vadī.
3. Vivadī, literally means the opponent, the disputant i e., the note of discord
4. Anuvadī, literally means that which sounds afterwards, which follows i.e., the note that supports the sonant.
   Section 3 : Nada, Śruti and Svara 149
   श्रुतयो द्वादशाष्टौ वा ययोरन्तरगोचराः ॥४८॥
   मिथः संवादिनौ तौ स्तो निगावम्यविवादिनौ ।
   रिधयोरेव वा स्यातां तौ तयोर्वा रिधावपि ॥४९॥
   शेषाणामनुवादित्वं वादी राजाऽत्र गीयते ।
   संवादी त्वनुसारित्वादमात्योऽभिधीयते ॥५०॥
   विवादी विपरी तत्वाद्धीरैरुक्तो रिपूपमः ।
   performance is most frequently used. The notes having an
   interval of eight or twelve śruti-s are mutually consonant.
   Ni and ga are dissonant to all other notes, or to ri and dha
   only, or ri and dha too are their dissonants. The rest of the
   notes are related as assonants. (47c-50a)
   The sonant among them⁵ is considered to be the ruler,
   while the consonant, being in concert with it, is called the
   minister; the dissonant being antagonistic is likened by the
   sages to an enemy, the assonant⁶, however, since it follows
   the king as well as the ministers, is like a servant. (50b-51)
   speaker. The name itself is suggestive of its function viz., the one that
   sounds frequently, and thereby establishes the melodic pattern of rāga.
   Generally, the sonant is also the fundamental note (the tonic), specially
   in the jati and grama-rāga-s.
   'K' defines saṁvādī i.e., consonant as the note which, in conso-
   nance with the sonant, creates the quality of delightfulness in a rāga (a
   melodic structure) and helps to maintain it. 'S' raises the point that,
   whereas Śārṅgadeva has spoken of eight or twelve śruti-intervals being
   the necessary condition for consonance of notes, Mataṅga and Dattila
   have mentioned nine or thirteen śruti-s as constituting the required inter-
   val. Now, in order to answer this question as well as to grasp the whole
   concept of consonance of notes, it is necessary to examine the statements
   of Mataṅga and Dattila. Mataṅga says :
   "The notes placed at the interval of nine or thirteen śruti-s are
   mutually consonant" (as quoted by 'S').
5. That is, the four types of notes viz., the sonant, the consonant, the assonant and the dissonant.
6. The assonant is like a servant, in so far as it has no other func-
   tion except to strengthen the leading note in concordance with
   the consonance; it has no individuality of its own.

150 Treatment of Svara
It is important to note that Mataṅga lays down the condition of
the notes being of identical śruti-measure, in addition to the required
note-interval of nine or thirteen śruti-s. Following Mataṅga, Abhinav-
gupta elaborates the concept of samaśrutikatā (identity of śruti-measure)
of a tone with reference to the last śruti of the preceding tone. Thus
Bharata has enumerated the following pairs of consonant notes in the
ṣaḍja-grāma : sa-ma, sa-pa, ri-dha and ga-ni based on 9 and 13 śruti-
intervals. What is notable is that he has not included the pair of ma-ni
which implies a 9 śruti-interval. This is so because ma and ni being at a
distance of 4 and 2 śrutis from the last śruti-s of their respective preceding
notes are not identical in their śruti-measure. Thus the phenomenon of
svara-saṁvāda which is inaccurately identified as the consonance of notes,
is not only an acoustical but also a melodic phenomenon. In the former
case it signifies the relation of svara-s in terms of the śruti-interval obtain-
ing in-between them and in the latter case it refers to the identity of śruti-
measure constituting them. The melodic effect of this aspect of svara-
saṁvāda is amply demonstrated by reciprocal triads formed by the con-
sonance of notes as defined above. For example, Brihaspati points out that
in case of ma-ni, which has been excluded by Bharata from the consonant
pairs, 'ma-ga-ri' cannot be reciprocated by ni as 'ni-dha-pa', the reciprocal
triad would be 'sa-ni-dha' and not 'ni-dha-pa'. Hence ma-ni have not been
spoken of as having saṁvāda" (cf. I.M.J. No. 7, p. 60 and P.L.S.: I.M.J.
Nos. 11-12, p. 57).
Incidentally the minute difference between the concept of conso-
nance in western music and saṁvāda of Indian music is also made clear
through the concept of samaśrutikatā.
Furthermore, as 'S' explains, Mataṅga includes the note-śruti of
the note with which consonance is established in the number of śruti-s
forming the interval, whereas Śārṅgadeva excludes it; that is why
Śārṅgadeva speaks of eight and twelve śruti-interval and (Bharata),
Mataṅga and Dattila add one more to state as nine and thirteen-śruti-
interval. For example, take the consonance of sa-pa. The note-śruti
of sa is 4th and that of pa is 17th; and if, while measuring this interval,
one counts from 4th (including it) to 16th it would make for a thirteen-
śruti interval but if the 4th is excluded, then it would make for a
twelve-śruti interval. The consonance of notes is reflected in the
following chart :
Section 3 : Nāda, Śruti and Svara 151
Sonants and consonants

152 Treatment of Svara
he says "Notes extending to two śruti-s are dissonants". The function
of dissonants is defined by Mataṅga and elucidated by 'S' to the
purport that the notes that can only disturb and destroy the melodic
structure of a rāga, established in the configuration of the fundamental
note (tonic), the assonant and the consonant notes put together, are
dissonant. Again this yardstick has to be applied through the principle
of substitution i. e., if ga is substituted for ri or vice versa, then the
mode and the melodic pattern of the composition are disturbed, and
consequently there is loss of aesthetic effect.
The notes that are not mutually related either as consonants or as
dissonants are considered to be assonants. 'S' quotes Mataṅga who says
that notes short of one śruti interval are assonants. Thus, for example
he says, if ṛṣabha is used for ṣaḍja, dhaivata for pañcama, ṛṣabha for
pañcama, or dhaivata for ṣaḍja or vice versa, the mode of the melodic
pattern is not adversely affected. 'S' adds ṛṣabha for madhyama, and
dhaivata for madhyama and vice versa in this line.
But what is the function of assonants? Anuvādī literally means
that which sounds after (the dominant) i.e., the note that follows or
supports the sonant. Mataṅga also lays down that "the function of the
assonant is to fortify and strengthen the sprit of the melodic pattern
established by the sonant." (47c—50a)
The relationship of the four classes or functions of the notes is illus-
trated by a metaphor. Just as it is the king who commands in consulta-
tion with his minister, so also does the sonant function in close coordi-
nation with the consonant, and yet enjoys the supremacy of the king.
The assonants are so many servants working for the sonant and the
consonant, strengthening them; and the dissonant is like the enemy of
the whole team. (50b—51)
(ix) स्वराणां कुल-जाति-वर्ण-दैवतर्षि-च्छन्दोरस कथनम्
गीर्वाणकुलसंभूताः षड्जगान्धारमध्यमाः ।
पञ्चमः पितृवंशोत्थो रिधावृषिकुलोद्भवौ ॥५२॥
(ix) Lineage, caste, colour, continent, sage, deity, metre
and rasa (aesthetic delight) of the svara-s : 52-60b
Ṣaḍja, gāndhāra and madhyama are of divine origin¹,
pañcama has arisen from the lineage of manes, ṛṣabha and

1. Gīrvāṇakula, literally means the house of gods', or in fact, the
   con ept 'kula' is akin to the concept of cominune; thus the
   expression implies that sa, ma and pa are descended from the
   community of gods.
   Section 3 : Nāda, Śruti and Svara 153
   निषादोऽसुरवंशोत्थो ब्राह्मणाः समपञ्चमाः ।
   रिधौ तु क्षत्रियौ ज्ञेयौ वैश्यजाती निगौ मतौ ॥५३॥
   शूद्रावन्तरकाकल्यौ स्वरौ वर्णास्त्विमे क्रमात् ।
   पद्माभः पिञ्जरः स्वर्णवर्णः कुन्दप्रभोऽसितः ॥५४॥
   पीतः कर्बुर इत्येषां जन्मभूमिरथ ब्रुवे ।
   जम्बूशाककुशक्रौञ्च शाल्मलीश्वेतनामसु ॥५५॥
   द्वीपेषु पुष्करे चैते जाताः षड्जादयः क्रमात् ।
   वह्निवेधाः शशाङ्कश्च लक्ष्मीकान्तश्च नारदः ॥५६॥
   ऋषयो ददृशुः पञ्च षड्जादींस्तुम्बुरुर्धनी ।
   वह्निब्रह्मासरस्वत्यः शर्वश्रीशगणेश्वराः ॥५७॥
   सहस्रांशुरिति प्रोक्ताः क्रमात्षड्जादिदेवताः ।
   क्रमादनुष्टुब्गायत्री त्रिष्टुप् च बृहती ततः ॥५८॥
   पङ्क्तिरुष्णिक् च जगतीत्याहुश्छन्दांसि सादिषु ।
   सरी वीरेऽद्भुते रौद्रे धो बीभत्से भयानके ॥५९॥
   कार्यौ गनी तु करुणे हास्यशृङ्गारयोर्मपौ ।
   dhaivata are the progeny of the ṛṣi-s² (sages), while niṣāda has
   sprung from the demonic ancestry. (52-53a)
   Ṣaḍja, madhyama and pañcama are brahmins³, ṛṣabha and
   dhaivata are known as belonging to the princely class⁴, niṣāda
   We have already come across two classifications of notes; here are
   a few others on quite different grounds. The basis for these classifica-
   tions, as it will be seen, is peculiarly historical and cultural; and there-
2. Ṛṣi is usually translated as 'seer' or a sage; that being true,
   in this context a ṛṣi is the recipient of the vision of the mantra-s
   (i. e vedic hymns).
   3 Brahmin is the superior-most caste among the caste Hindus
   who comprise brāhmaṇas, kṣatriya-s and vaiśya-s, roughly con-
   forming to the three classes of Plato's ideal society viz., the
   philosophers, the rulers and warriors, traders and ploughmen.
   The fourth caste of śūdra comprises slaves and servants of
   lower class. Actually, the caste system of the Hindus is based
   on the four functional divisions of the human body viz., the
   head, the arms, the stomach and the feet.
3. Kṣatriya, literally means the warrior (class).

154 Treatment of Svara
and gāndhāra are considered to be in the merchant class⁵,
while the notes antara-gāndhāra and kākali-niṣāda are of the
servant class.⁶ (53b-54a)
Their respective colours are red⁷, pale yellow⁸, golden
yellow, sparkling white⁹, black, plain yellow and variegated.
(54b-55a)
Then I am to describe the lands¹⁰ of their origin.
The notes ṣaḍja etc., are respectively born in the continents
of Jambu, Śāka, Kuśa, Krauñca, Śālmali, Śveta and Puṣkara.
(55b-56b)
fore, peculiarly Indian in orientation. Moreover, it is not always possi-
ble to trace the historical-cum-mythological background in which the
classification and its nomenclature were significantly employed. For
example, one can hardly say anything about the classification of notes
based on their origin from the gods, manes, sages and demons, but one
can guess with obvious justification with respect to the other classifica-
tion based on caste. Incidentally these attributes go to project the
individual images of the notes lending them a personality.
Ṣaḍja, madhyama and pañcama have four śruti-s each, ṛṣabha and
dhaivata have three, niṣāda and gāndhāra have two; so obviously they
have been evaluated according to their śruti-value and assigned the
best, the middle and the lower position among the society of svara-s
(notes). However, antara and kākali are treated as outcastes since
they are not employed as the fundamental notes, and are therefore,
degraded from the position of full-fledged svaratva (i.e. the capacity, to
be an independent musical note). (52—54a)
There is a state of consciousness arrived at through yogic process in
which colour and sound appear in a unified perception. The notes have
been assigned particular colours here. These colours may be related to
the particular aesthetic effects subsequently attributed to the notes or
5. Vaiśya-s include traders, farmers, industrialists and the produ-
cers of every type.
6. Śūdra-s are those who are not free citizens, who are in the
service of other individuals etc.
7. Padmābha is interpreted by 'S' as red; literally it means
'shining like a lotus' as rendered by 'K. R.'. However, we do
have a red lotus and therefore, the interpretation of 'S' may
be taken to be authentic.
8. Piñjara is defined by 'S' as slightly yellow or yellowish.
9. Kunda is a flower and 'K. R.' identifies it with jasmine. 'S'
interprets it as brilliant and white.
10. Places of birth.
Section 3 : Nāda, Śruti and Svara 155
The ṛṣi-s¹¹ (sages) who discovered the first five¹² notes
commencing with ṣaḍja etc., respectively are Vahni¹³,
Brahmā¹⁴, Śaśāṅka¹⁵, Lakṣmīkānta¹⁶ and Nārada¹⁷,
while dhaivata and niṣāda were discovered by Tumburu.¹⁸
(56-57b)
they may even be objective facts that are subjectively perceived; but
nothing can authentically be said about it, since even the commentators
do not refer to the basis for this tradition. They seem to take these
things as a matter of course.
The world was divided into seven dvīpa-s according to the puranic
geography which is mixed up with mythology. A dvīpa is considered to
be an independent mass of land separated from the other dvīpa-s by an
ocean. Thus corresponding to the seven dvīpa-s seven oceans are also
conceived. These days, the concept of 'dvīpa' is taken as corresponding
to that of 'continent', though in technical details it is not necessarily
so. (54b—56b)
It will be observed that with respect to every note, or in other
words, regarding all the seven notes, certain characteristics are described
here, such as, the familyline, the colour, the continent of origin, the
seer, the presiding deity, metre and the aesthetic effect. To a critical
mind, this scheme is open to searching questions regarding the signifi-
cance of these individual characteristics as attributed to the different
notes. However, only a few general suggestions can be offered here
with a view to provide a certain perspective in which the true signifi-
cance of the scheme may be discovered.
11. Ṛṣi-s are considered to be the seers who have an immediate
perception of Truth or a fact.
12. That is, ṣaḍja, ṛṣabha gāndhāra, madhyama and pañcama.
13. Vahni, literally means fire and alludes to Agni, the god of fire.
14. Vedhas of the text refers to the creative aspect of the Divinity,
i. e. Brahmā.
15. Śaśāṅka refers to the 'moon'.
16. Lakṣmīkānta refers to Viṣṇu along with his consort Lakṣmī.
17. Nārada is not only a mythological figure, but also one of the
authorities in the tradition of the musical arts as mentioned
in the beginning of the text (cf. S. Raj, Vol. I, p. 667 for an
exhaustive note).
18. Tumburu is similarly another authority sanctified by musical
tradition. Thus Tumburu, like Nārada is a historical persona-
lity. He is described as an expert in divine music Vāyu-
purāṇa 69.47-49, a gandharva disciple of Nārada (Bhāgavata-
purāṇa, I.13.37-59). Tumburu is obviously associated with
Nārada in the Purāṇa-s.

Page 156

156 Treatment of Svara
The presiding deities of ṣaḍja etc., respectively are
Vahni, Brahmā, Sarasvatī¹⁹, Śiva²⁰, Viṣṇu²¹, Gaṇeśa²² and
the Sun²³, and the metres associated with them seriatim are
anuṣṭup, gāyatrī, triṣṭup, bṛhatī, paṅkti, uṣṇik and jagatī. (57c-59b)
In the vedic tradition, every vedic hymn, i.e., sūkta is endowed
with a seer, a presiding deity, a metre and so on; and it seems that the
present characterisation of notes in the above terms is an extension of
this tradition as applied to music. How far its application to music is
useful, practical and valid is a question of a detailed and a deeper
investigation.
Another obvious fact, as already hinted in this regard is that, all
these characteristics go to raise an individual image of each note. One
might well find the beginnings of the later rāga imagery in the Indian
music developing visual images of tonal structures expressed in line and
colour in their rudiments.
'S' has observed this phenomenon from quite a different angle
which is interesting and thought-provoking. He says that the allocation
of the musical notes to seven different continents as the places of their
origin and the association of seven seers etc. as well points out the fact
that the notes were admitted to be seven only, and not nine, including,
for example, the kākalī-niṣāda and the antara-gāndhāra. Thus, he raises
the question, "why indeed the notes are considered to be seven as a
rule ?", and suggests the following explanation : The number seven as
associated with the musical notes is based probably on the concept of
seven supportive tissues (spoken of in the Āyurveda) of the body such as
19. Terms such as Vahni and Brahmā have already been explained.
Sarasvatī is conceived as the goddess of learning, art and
literature in the puranic symbology.
20, 21. Śiva symbolises that aspect of the Hindu trinity which is
responsible for the dissolution of the creation and Viṣṇu is
the deity responsible for the state of the being in creation, i. e.
sthiti (sustenance).
22. Gaṇeśa, in the puranic mythology, is the son of Lord Śiva
and a god to be propitiated at the commencement of every
religious rite, ceremony or any new social or economic under-
taking.
23. The Sun, though grammatically correct, is yet a misleading
expression, for the presiding deity called Sun, is not inert
like the sun, but is the essence of the consciousness embodied
by it
The following notes (24-31) are prepared on the basis
of the glossary of technical words, appended to Ravi Shankar's
"My Music My Life".

Page 157

Section . . .
Ṣaḍja and ṛṣabha are employed in the expression of
heroism²⁴, wonder²⁵ and wrath²⁶; similarly, dhaivata is used
for abhorrence²⁷ and terror²⁸, gāndhāra and niṣāda for
skin, blood, flesh, etc., or on the concept of the seven psycho-physical
centres in the body, or as related to the seven continents. Kākalī-niṣāda
and antara-gāndhāra are not taken as notes independently as they are not
used as the dominant (tonic) notes. This is supported by a quotation
from Dattila to this effect (cf verses 16 and 17).
It is notable that while all other ṛṣi-s from Vahni to Nārada are
more or less mythological, perhaps with the exception of Nārada who is
semi-historical, Tumburu is a historical personality and a gandharva i.e.,
a musician. He is said to have discovered dhaivata and niṣāda (cf. a
discussion on the concept of gāndharva by Sadagopan-Prem Lata-
Brahaspati in the Indian Music Journal, Oct.-Nov. 1967), where it is
said by Brahaspati that dhaivata was discovered by him as an overtone
of madhyama. It seems that the discovery of dhaivata and niṣāda attribut-
ed to him is historical. (56c-57)
The concept of devatā or the presiding deity is once again vedic
in origin. It symbolises in concrete terms the abstract idea of a certain
classification of human consciousness of that particular age, which was
partly functional and objective in its comprehension of the creation and
partly subjective, being conditioned by the time-space of the age. For
example, the group of sun-gods headed by Savitṛ symbolise not only the
sun, but in fact the brilliance that characterises the sun and the stars
alike. Thus the discovery of the modern astronomy that the stars are
as many and more or less powerful suns, is no revelation to those who
are acquainted with the vedic symbolism. The Vedas have comprehend-
ed the truth of it in their own terms.
It is difficult to relate the application and the extension of this
symbolism to the musical notes, as it has already been said, but if any
significance has to be discovered, vedic symbolism must provide the
key.
24. Vīra is expressive of dignity, majesty and glory, courage and
heroism.
25. Adbhuta is expressive of wonderment, amazement, surprise,
exhilaration, and also the mixed feelings of anticipation.
26. Raudra depicts anger or excited fury.
27. Bībhatsa conveys the sentiment of hate, hostility and disgust
which is usually made explicit in dramas.
28. Bhayānaka represents the sensation of fear, fright and awe.
However, it is difficult to express this in music or a solo-
instrument.

pathos²⁹, and madhyama and pañcama for mirth³⁰ and con-
jugal love.³¹ (59c-60b)
Similarly, the particular metres that have been associated with the
notes are also vedic with the exception of anuṣṭup which was introduced
into the classical Sanskrit as well. This confirms the view that this
characterisation of the tones is a form of the extension of vedic symbo-
lism in the field of musical arts. In this context the value of its appli-
cation to music needs to be assessed for proper appreciation and under-
standing.
In this respect ‘S’ informs that these particulars are used in the
worship of the tones when ṣaḍja etc., are invoked by the seed-syllables
spoken of by Mataṅga. In this invocation specially the seer (ṛṣi),
the presiding deity (i. e. devatā) and the metre are utilised. ‘S’ gives a
long quotation from Mataṅga, referring to the seed syllables of notes,
which need not be reproduced here. This reflects the influence of Tantra
on the already existing tradition of vedic origin. (57c-59b)
It is said that music is a universal language : perhaps it is so
because it gives expression to the content of the heart without inter-
ference of thought, and therefore, appeals directly to the heart. Music,
as understood in the context of saṅgīta was primarily considered to be
an accessory art to dramatics and therefore, specific compositions such
as particular grāma-rāga-s etc., were employed in the depiction of parti-
cular sentiments, such as heroism, conjugal love, pathos and so on.
Thus the theory of rasa or aesthetic delight propounded for explaining
the phenomenon of literary and dramatical enjoyment was later applied
to music, even while it was taken to be an art by itself. That is how
various rāga-s are associated with various states of mind leading to the
enjoyment of various emotions. In this background the capacity of
different tones for producing or arousing particular mental states is
further analysed here.
This analysis of the character of tones with reference to their
capacity to express more effectively particular sentiments seems not
only to be historical and traditional, but also objective and scientific in
29. Karuṇa is sad, pathetic, tragic and expresses loneliness, longing
and yearning for the absent lover or God.
30. Hāsya is humorous and comic, happy and joyful and produ-
cing laughter.
31. Śṛṅgāra represents the universal creative force and embodies
romantic and erotic feelings, of love between man and woman,
the longing for the absent lover, and sensitivity to the beauty
of nature.
principle. Cf. Bharata XIX. 38, 39 (K. ed.) as the basis for Śārṅgadeva
to associate particular notes with particular rasa-s. However, svara in
this context refers to the tonic i. e., the first tone of the mūrcchanā and
implies the mūrcchanā based on it. So in fact the rasa or the aesthetic
delight associated with a particular tone is capable of being produced
not by an isolated tone but by the mūrcchanā commenced by that tone.
This view is supported by the implication of Bharata in the context of
rasa as associated with jātis (N. S. XXIX. 12 K. ed.)
Rasa is generally rendered as aesthetic delight, but that does not
elucidate the concept adequately. Rasa is that delight which is distin-
guished from pleasure, from sensation and sensual enjoyment in so far
as it is to be derived from a state of mind free from the limitations of
personal likes and dislikes. Rasa is the delight of a consciousness in
which emotion is experienced as a universal affection. Rasa is not only
contemplation but also a direct experience of beauty and love. The
concept of rasa is well elucidated as ‘brahmānanda-sahodara’, that is,
‘delight approximating to universal love’.
The association of rasa or an aesthetic mode with the individual
notes may not be directly an extension of the vedic tradition, but
certainly the concept is derived from mārga-saṅgīta i. e., ancient music,
and is therefore, an indirect extension of the vedic tradition. It is
worthwhile to remember that the Sāma veda is, according to some, the
source of musical arts.
Another point worthy of notice is that, quite in keeping with the
tradition of dramaturgy, only eight of the nine rasa-s of the literary
theory have been admitted as the basic aesthetic moods in music.
Śānta i e., ‘serenity’ is excluded as being impracticable for the purposes
of demonstration. (59c-60b)

अथ चतुर्थं ग्राममूर्च्छनाक्रमतानप्रकरणम्
क. ग्रामः
(i) ग्रामलक्षणम्
ग्रामः स्वरसमूहः स्यान्मूर्च्छनाऽऽदेः समाश्रयः ।
Section 4
Grāma, Mūrcchanā, Krama and Tāna
A. Grāma : 1-8
(i) The definition of grāma : 1ab
Grāma¹ is a group of tones that forms the basis of
mūrcchanā² etc. (1ab)
The individual identity of the tones has been established and
demonstrated in the previous Section. But, taken individually, the
tones do not have any utility, obvious or hidden. So, in order to be
effective the tones are organised and presented in a systematic form;
and therefore, the author now comes to deal with the basic pattern
of tonal organisation and the system of formal presentation related to it.
In this Section he deals with grāma which forms the basis of tonal
organisation of the system of formal presentation consisting of such
concepts as mūrcchana, the mūrcchana-series (krama) and the note-series
(tāna) which constitute the important features of ancient Indian music.
These concepts will be elaborated in their proper context, but for the
present we are concerned with the term 'grāma'.
The word grāma in Sanskrit means a village; but a village in
ancient times, and even today was and is more or less a community by
itself. So, when the word grāma is adapted in musical parlance, it
denotes, not merely a collection of musical notes, but a group of notes

1. Grama may be understood roughly as a basic scale, but for the
   sake of accuracy it has not been translated into English.
2. Mūrcchanā, though not translated in this work, like grama, may
   otherwise briefly be understood as modified gramic prototype
   scale.
   Section 4 : Grāma, Mūrcchanā, Krama and Tāna ...
   of relative tonal value organised into an integrated whole compre-
   hending within its fold the span of a saptaka (heptad), a scale of seven
   notes which serves as the basis for musical compositions.
   'K' elucidates that as in every-day life grāma refers to a group of
   people, so in musicology grāma refers to a group of svara-s; but, as the
   word svara refers to the linguistic vowels (vedic and classical) as well as
   the musical notes, this definition would be too wide. Also in the
   ordinary connotation of 'svara' is included the threefold vedic accent,
   viz., udatta, anudātta and svarita. It is in order to preclude such an
   interpretation as it were that grāma is stated to be such a group of svara-s
   which forms the basis of mūrcchanā etc. By etc., the author implies
   mūrcchanā-series, note-series (tāna), ornamentation (alaṁkāra), graces
   (gamaka) and the archetypes (jāti) of musical compositions such as
   grāma-rāga-s and so on.
   'S' also offers the same elucidation but with an alternative :
   probably, as he apprehends, one may not understand the order of tonal
   value, say in terms of the pitch involved in the grāma, if it is merely
   taken to be a group of tones. Therefore, this general statement is
   conditioned in so far as the group of notes has to be so organised, the
   tones have to be so related to each other, as to serve as the basis for
   mūrcchanā etc.
   'S' is obviously inspired in this view by the Saṅgīta-samaya-sāra,
   from which he quotes as under :
   “Grāma is a group of notes having ordered śruti-s and constituting
   mūrcchanā, tāna, jāti and aṁśa.”
   The emphasis is on the order inherent in the arrangement of the
   śruti-s, and therefore the svara-s. It is this order in the tonal value of
   the notes which distinguishes it from an indistinct jumble of sounds.
   Actually this point is implied in the text as one can clearly see it, though
   'K' has emphasised one aspect of it and 'S' has stressed the other.
   Kumbha's definition of grāma seems to be the most appropriate :
   “When the svara-s in consonance, having śruti-s in due order, serve
   as the basis of mūrcchanā etc., they are said to constitute a grāma”. (S.
   Raj. I. 2. 3. 9-10)
   That the tones of the grāma should be so related as to be in
   consonance with each other, makes this definition more explicit, clear
   and precise. Also, this definition gives due importance to śruti-s apart
   from the svara-s.
   M. S. Ramaswami Aiyar in his paper entitled, "The Question of
   Grāma-s" (pub. J. R. A. S., 1936, p. 632) explains grāma in these words :
   11

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162 Treatment of Svara
(ii) द्वौ ग्रामौ (धरातले)
तौ द्वौ धरातले तत्र स्यात्षड्जग्राम आदिमः ॥१॥
द्वितीयो मध्यमग्रामस्तयोर्लक्षणमुच्यते ।
(ii) The two grāma-s: 1c--2b
Two grāma-s are prevalent in this world¹, the first is
ṣaḍja-grāma and the second is madhyama-grāma; they are defin-
ed in the following terms. (1c--2b)
"A grāma was an unsingable group scale, so to speak, consisting of śuddha-
vikṛta svara-s collected together and preserved, as such, for the purpose
of selecting, from that group scale, any desired set of seven notes with a
graha or srarting point which set, when sung in the natural order of
ascent and descent was called mūrcchanā and which, when a harmonic
individuality was established with the help of aṁśa,, nyāsa, vādī and
saṁvādī etc., took the name of jātī³." Thus, it would seem that the con-
cept of grāma is deeply involved in other concepts of the grāma-mūrcchanā
system; and would therefore become more and more clear as we go on
comprehending them all as a part and parcel of a single scheme.
Grāma has been defined primarily to be a group of tones : there-
fore, the question is, why not have seven grāma-s, one by the name of
each tone ?, and why only two viz., ṣaḍja-grāma and madhyama-grāma?
'K' suggests that since the tones are employed in two forms viz., the
standard or unmodified and the modified, there are only two grāma-s
each to serve as the basis for the former and the latter i e., the ṣaḍja-
grāma for the standard tones and the madhyama-grāma for the modified
tones. However relevant this explanation may be, it can hardly be said
to be adequate; there are many other factors of musical practice that
make any other grāma impracticable, e.g., the principle that the tones
of a grāma should be in consonance with each other implies that the
consonant tones have to be of the same śruti-measure : and this implica-
tion cannot probably be realised elsewhere as accurately as in the ṣaḍja
and the madhyama-grāma-s.
3. As quoted by Nijenhuis in her Dattilam, p. 104.

1. Dharātale, literally means, 'on the face of the earth', i.e., in the
   mortal world, for gāndhāra-grāma is said to be prevalent in the
   heaven or among the gods.

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Section 4 : Grāma, Mūrcchanā, Krama and Tāna 163
(iii) षड्जमध्यमग्रामयोर्लक्षणम्
षड्जग्रामः पञ्चमे स्वचतुर्थश्रुतिसंस्थिते ॥२॥
स्वोपान्त्यश्रुतिसंस्थेऽस्मिन्मध्यमग्राम इष्यते ।
(iii) The definition of the ṣaḍja-grāma and the madhyama-
grāma: 2c--3b
Pañcama, if located on its¹ fourth śruti makes for the
ṣaḍja-grāma; but if established on the śruti immediately
preceding² it, makes for the madhyama-grāma. Alternatively³,
dhaivata of the ṣaḍja-grāma is of three śruti-s; while in
madhyama-grāma it has four śruti-s. (2c--3b)
The author is now suggesting the means of distinguishing the
ṣaḍja-grāma from the madhyama-grāma and he says that pañcama is the
crucial note for this purpose. In the ṣaḍja-grāma pañcama is located on
the seventeenth śruti and consequently dhaivata has three śruti-s, but in
madhyama-grāma, pañcama is located on the sixteenth śruti and conse-
quently one of the śruti-s is spared to dhaivata which sustains four śruti-s.
Thus the grāma-s can be distinguished either by the position and the
extent of pañcama or of dhaivata.
Incidentally, it is pointed out by 'S' that, whereas the pañcama of
the ṣaḍja-grāma is unmodifiable, the pañcama of the madhyama-grāma is
essentially a modified note. Even though there are other notes in
ṣaḍja-grāma such as ṣaḍja etc, that too are constant, yet pañcama presents
a contrast and that is why it becomes more significant.

1. Sva the use of this possessive pronoun in the terminology of
   Śārṅgadeva is quite significant; for, it excludes the śruti-s
   gained by the tones in their modified state. The fourth śruti
   of pañcama is the seventeenth śruti of the scale identified by
   'K' as ālāpinī of the karuṇā jāti (class).
2. Svopāntya—of the text literally means "its penultimate". Thus,
   the expression refers to the śruti immediately preceding the
   fourth śruti of pañcama, i.e., the third śruti, or the sixteenth
   of the scale, identified by 'K' as sandīpanī of the āyatā class.
3. 'S' points out that the use of the indeclinable tu in the text
   shows that the author prefers to stick to the first distinction
   for distinguishing the grāma-s, while he mentions the other
   alternative on behalf of other musicologists. Indeed the
   distinction of dhaivata is incidental to that of pañcama.

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164 Treatment of Svara
(iv) गान्धारग्रामः
यदा धस्त्रिश्रुतिः षड्जे मध्यमे तु चतुःश्रुतिः ॥३॥
रिमयोः श्रुतिमेकैकां गान्धारश्चेत्समाश्रितः ।
षट्श्रुतिं धो निषादस्तु धश्रुतिं सश्रुतिं श्रितः ॥४॥
गान्धारग्राममाचष्ट तदा तं नारदो मुनिः ।
प्रवर्तते स्वर्गलोके ग्रामोऽसौ न महीतले ॥५॥
(iv) The gāndhāra-grāma : 4-5
If gāndhāra takes one śruti each from ṛṣabha and
madhyama, dhaivata takes one śruti from pañcama, and niṣāda
takes one śruti each from dhaivata and ṣaḍja, it becomes
gāndhāra-grāma as declared by the sage Nārada¹. This grāma
is prevalent in the heaven², not in this world. (4-5)
In the tradition of Bharata, which Mataṅga seems to follow, only
two grāma-s, viz., the ṣaḍja-grāma and the madhyama-grāma are recognised
(cf. Br. D. 93). However Narada, of uncertain chronology, refers to a
third grāma called gāndhāra-grāma which, our author after Mataṅga
declares, was meant to be used exclusively by gods and not by human
beings. This grāma is derived by him from the ṣaḍja-grāma as described
in the text and accordingly can graphically be demonstrated as under :
The three grāma-s

(Chart 11)
Dhaivata takes one śruti from pañcama (of the ṣaḍja-grāma) and
yields one śruti to niṣāda, retaining in effect the same number of śruti-s.
1. Nārada is a very ancient name, known to Veda as the brahmarṣi
and the Purāṇas as devarṣi. He is associated with Bharata in the very first
performance of drama (N. S. Kashi ed, 5.32). Bharata mentions Nārada
as an authority on gandharva (N. S Kashi ed. 32.484). At least five per-
sonalities are discerned by the name of Nārada including the authors of
Nāradīya-śikṣā and Saṅgīta-makaranda (cf. S. Raj, Vol. 1, pp. 667-668 for a
detailed description). In short, Nārada is an ancient authority on music.
2. The heaven in the Hindu mythology, is the abode of gods;
those who accumulate merit by good deeds, are born as gods in heaven
and as the merit earned by them is exhausted, they are again reborn as
mortals in noble families. On the other hand, the gods are considered

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Section 4 : Grāma, Mūrcchanā, Krama and Tāna 165
(v) ग्रामत्रयस्य नामस्वराणां वैशिष्ट्यम्
षड्जः प्रधानमाद्यत्वादमात्याधिक्यतस्तथा ।
ग्रामे स्याद्विलोपित्वान्मध्यमस्तु पुरःसरः ॥६॥
एतत्कुलप्रसूतत्वाद् गन्धारोऽप्यग्रणीर्दिवि ।
(v) Justification for the three grāma-s: 6-7b
Ṣaḍja is the prime tone¹, for being in the first position
and also for having more ministers² in the grāma; madhyama
too is in the fore-front, because it cannot be omitted. Being
a descendant of the same family, even gāndhāra is the promi-
nent note in the heaven. (6-b)
Now, the question is why the three grāma-s are named particularly
after ṣaḍja, madhyama and gāndhāra, and not after any other notes such as
pañcama or niṣāda and so on. The author explains that it is because ṣaḍja
is the most prominent tone; and that for two reasons viz., it is the funda-
mental note and also it is in consonance with more notes than the other
-i.e., with pañcama and madhyama; whereas other tones have only one
consonant.
Madhyama is also an important note since it cannot be omitted
while composing standard (śuddha), hexatonic and pentatonic note-
series (tāna-s). 'K' also suggests another reason. Madhyama cannot be
omitted because the three notes preceding it are quite in balance with
the three notes succeeding it, and have a certain consonance in-between
them, but madhyama being centrally situated is isolated from that sort
of relationship and therefore serves as the boundary line between the
two sets of notes, making itself in-omissible. 'S' quotes Dattila regar-
ding the inomissibility of madhyama to the following effect.
"Pañcama in the madhyama-grāma, and dhaivata in the ṣaḍja-grāma
are inomissible, but however madhyama is so everywhere."
Gāndhāra-grāma is so named because it is a descendent of the same
family of gods to which ṣaḍja and madhyama belong and is thereby the
prominent note in heaven, where it is said to be prevalent. 'S' quotes
Mataṅga in support of this reasoning.
"Why indeed this particular nomenclature ṣaḍja and madhyama-
grāma ? To explain, they have been assigned grāma names because of
their being extraordinary, and that is because of their being born in the
family of gods." (cf. I.3.52ab ante)
1. Pradhāna literally means 'the chief', in other words, the most
important tone.
2. The consonant tones have been referred to as ministers (cf.
3.50 ante).

Page 166

166 Treatment of Svara
(vi) ग्रामाणां देवा।
क्रमाद् ग्रामत्रये देवा ब्रह्मविष्णुमहेश्वराः ॥७॥
(vi) The presiding deities of the grāma-s : 7cd
The presiding deity in each of the three grāmas respec-
tively¹ is Brahmā, Viṣṇu and Śiva.² (7cd)
(vii) ग्रामाणां गानकालनियमः
हेमन्तग्रीष्मवर्षासु गातव्यास्ते यथाक्रमम् ।
पूर्वाह्णकाले मध्याह्ने ऽपराह्ने ऽभ्युदयार्थिभिः ॥८॥
(vii) The periods of time as related to the grāma-s: 8
They¹ are to be sung by those who are desirous of
prosperity in the forenoon², mid-day and in the afternoon, in
the winter, summer and in the rainy season respectively. (8)
The expression "gātavyāste" is quite significant and also thought-
provoking. The pronoun 'they' (te) obviously stands for the three
grāma-s ; and therefore two interesting questions arise in this particular
context : (i) are the grāma-s meant to be sung ? (ii) Is singing to be
restricted to winter in case of the ṣaḍja-grāma, to summer in case of the
madhyama-grāma and to rainy season in case of the gāndhāra-grāma ? and
if so, the gāndhāra-grāma cannot be used on earth as it is prevalent in the
heaven only; then how should one sing in the rainy season ? Moreover,
the grāma-wise distribution of the day into three parts presents another
problem on the same lines.
The grāma-s, it is generally held, were not meant to be sung ; but
what is probably collectively referred to in the text by way of grāma,
is the various types of melodic patterns or musical forms set in the
pattern of the particular grāma-s, such as jāti-s and rāga-s. It is interes-
ting to find 'S' quoting Mataṅga with reference to the function of grāma

1. That is, in the ṣaḍja, madhyama and gāndhāra-grāma, in respec-
   tive order.
2. The appellation Maheśvara (Mahā+īśvara—the great God) is
   used in the text.
3. That is, the three grāma-s.
4. Pūrvāhṇe, literally means 'in the anterior period' with reference
   to the middle period of the day, i. e.. the mid-day. Thus, we
   can also divide as forenoon, noon and afternoon.

Page 167

Section 4 : Grāma, Mūrcchanā, Krama and Tāna 167
in this context ; it is said—"the purpose of grāma is to regulate the
organisation of svara, śruti, mūrcchanā, tāna, jāti and rāga." Obviously,
these are the main factors of the ancient Indian music known as the
grāma-mūrcchanā-jāti system.
Thus, the expression 'they are to be sung', refers not merely to the
basic scales of the grāma-s, but all those melodic structures or musical
forms that are set into their basic pattern.
Accordingly, the text is suggestive of another function of the
three grāma-s viz., their individual suitability to a particular season.
The traditional six Indian seasons have been compressed into three for
functional purposes ; and on this basis one is led to infer that even
gāndhāra-grāma might have been prevalent sometimes in the forgotten
past All that the text implies is that the three grāma-s are more
suitable for the three respective seasons and the divisions for the day,
but not that they are exclusively to be employed on restricted basis.
ख. मूर्च्छनाः क्रमाश्च
(i) मूर्च्छनालक्षणम्
क्रमात्स्वराणां सप्तानामारोहश्चावरोहणम् ।
मूर्च्छनेत्युच्यते ग्रामद्वये ताः सप्त सप्त च ॥९॥
The mūrcchanā-s and krama-s : 9-26b.
(i) The definition of mūrcchanā: 9
The ascending and the descending movement of the
seven notes in successive order is called mūrcchanā. There¹
are seven mūrcchanā-s in each of the two² grāma-s. (9)
The concept of mūrcchanā is quite important in this system of
music, and should therefore be understood quite adequately.
The word 'mūrcchanā' is derived by Mataṅga from the Sanskrit
root mūrcch—to faint or to increase. Thus he defined mūrcchanā as :
"mūrcchyate yena rāgo hi mūrcchanā-ityabhisañjñitā" i.e., "That by which
the rāga develops is called mūrcchanā." Basically it is the movement,
ascending as well as descending of the seven notes which is called
mūrcchanā in the text. However, 'S' quoting Mataṅga in his support

1. That is, in this world excluding heaven.
2. That is, the ṣaḍja-grāma and the madhyama- grāma.

Page 168

168 Treatment of Svara
makes it clear that it is in fact the seven notes arranged in regular order
of ascent and descent which stand to be called as mūrcchanā i.e., in other
words, the action of ascent and descent, that is, the tonal movement is
not to be called mūrcchanā, as it is said by Mataṅga :
"The unit of seven notes in regular order of ascent and descent is
known to be the referent of the word mūrcchanā by the experts of the
subject."
Obviously a very subtle distinction has been made; for indeed, it
is the seven notes in the ascending or the descending movement in their
successive order that constitute mūrcchanā. The movement is quite
inherent in the tones if they are to form a mūrcchanā. Thus, the distinc-
tion is rather formal and may be construed as helpful in placing the
emphasis rightly on the tones, rather than on their movement. Ravi
Shankar defines mūrcchanā as, "scale-wise progressions in descending
motion from the fundamental notes." (cf. Glossary of Technical Words
'My Music, My Life').
The function of mūrcchanā is to develop, to enlarge and to spread
the rāga. Obviously, it is not possible to restrict the arrangement of
mūrcchanā-s to any one register, and as pointed out by 'K' in order to
show their range to be co-extensive with the three registers, Mataṅga,
speaks of mūrcchanā-s of twelve notes as well, but this seems unnecessary
in view of the two grāma-s being used conjointly, covering the three
registers. Kumbhā mentions Kohala and Nandikeśvara as supporting
Mataṅga in his view, but he totally rejects it by himself as technically
uncalled for (cf. S. Raj. 2.1.1. 352-357).
Thus it is settled, as per the text that there are seven mūrcchanā-s
in each grāma.

(ii) षड्जमध्यमग्रामस्थमूर्च्छनानां संज्ञाः
षड्जे तूत्तरमन्द्रा ऽऽदौ रजनी चोत्तरायता ।
शुद्धषड्जा मत्सरीकृदश्वक्रान्ता ऽभिरुद्गता ।।१०।।
मध्यमे स्यात् सौवीरी हरिणाश्वा ततः परम् ।
स्यात्कलोपनता शुद्धमध्या मार्गी च पौरवी ।।११।।
हृष्यकेति,
(ii) The names of the mūrcchanā-s of the ṣaḍja and madhyama-
grāma-s : 10-12a
The first in ṣaḍja-grāma is uttaramandrā which is followed
[by rajanī, uttarāyatā, śuddha-ṣaḍjā,] matsarīkṛtā, aśvakrāntā and

Page 169

Section 4 : Grāma, Mūrcchanā, Krama and Tāna 169
abhirudgatā. Madhyama-grāma has sauvīrī, hariṇāśvā, kalopanatā,
śuddhamadhyā, mārgī, pauravī and hṛṣyakā. (10-12a)
The names of these fourteen mūrcchanā-s seem to be quite significant
and some scholars have even ventured to speculate regarding their
literal signification as related to their musical content and aesthetic effect;
for example, the name of the first mūrcchanā of the ṣaḍja-grāma uttara-
mandrā, literally means, "the one that follows the mandra i. e., the lower
(heptad)" and this exactly tallies with its tonal position, since it com-
mences with the ṣaḍja of the middle heptad.
Now, the question (as raised by 'K') is, 'Why should the mūrcchanās
of the ṣaḍja-grāma begin with the ṣaḍja of the middle register?' i. e., why
not with some other note of, say, the lower register? And 'K' explains,
"that is so, because Bharata has ordained it that way," quoting him,
"mūrcchanā should be demonstrated on vīṇā with the tone madhyama
(madhyama svareṇa vaiṇavena mūrcchanā-nirdeśaḥ)". And then 'K' goes on
to quote Mataṅga in his interpretation of Bharata : "Mūrcchanā should
commence with the middle register in order to establish the lower and
the higher registers (madhya-saptakena mūrcchanā-nirdeśaḥ kāryo mandratāra-
sidhyartham)."
As far as the literal meaning is concerned, Bharata has spoken of
madhyama as the tone and not of madhya saptaka. However, Bharata
also lays down uttaramandrā as the first mūrcchanā, "ādya-hyuttaramandrā
syād etc." (cf. N. S. Ka. ed. XXVIII. 27). So in fact Śāṅgadeva follows
the tradition of Bharata and Mataṅga. Mataṅga however, seems to have
correctly elucidated Bharata, why uttaramandrā is taken as the first
mūrcchanā.

(iii) मूर्छनानामारम्भकस्वराः
, अथ तासां तु लक्षणं प्रतिपाद्यते ।
मध्यस्थानस्थषड्जेन मूर्छना ऽऽरभ्यते ऽग्रिमा ।।१२।।
(iii) The tonal form of the mūrcchanā-s : 12b-15
Their distinguishing character¹ is (now) being out-
lined.² The first mūrcchanā is commenced with the ṣaḍja of
'S' reproduces the mūrcchanā-s (in the ascending form) of the two
grāma-s in accordance with the text as under :

1. Lakṣaṇa, literally means a characteristic mark.
2. Lit. 'established' by demonstration.

170 Treatment of Svara
अधस्तनैर्निषादाद्यैः षडन्या मूर्च्छनाः क्रमात् ।
मध्यममध्यमारभ्य सौवीरी मूर्च्छना भवेत् ॥१३॥
षडन्यास्तदधोधःस्थस्वरानारभ्य तु क्रमात् ।
षड्जस्थानस्थितैरन्याँ रजन्याद्याः परे विदुः ॥१४॥
हारिणाश्वादिका गान्धैर्मध्यमस्थानसंस्थितैः ।
षड्जादीन्मध्यमादींश्च तदूर्ध्वं सारयेत्क्रमात् ॥१५॥
the middle register; and the six other mūrcchanā-s with niṣāda
etc. (placed) one below another in regular order. Sauvīrī
commences with the madhyama of the middle register, and
the six others³ with the notes coming one below another in
successive order. (12b-14b)
According to another version, rajanī etc.⁴ are formed
by niṣāda etc.⁵ that are placed on ṣaḍja⁶ and hāriṇāśvā etc.⁷
Mūrcchanā-s of the two grāma-s

• The tonal form of śuddha-madhyā, mārgī, pauravī and hṛṣyakā
  may appear to be identical with that of uttaramandrā, rajanī, uttarāyatā
  and śuddha-ṣaḍja respectively, due to the same tones employed; but

3. That is, other mūrcchanā-s.
4. That is, from rañjanī, uttarāyatā etc. onwards upto abhirudgatā.
5. That is, ni dha pa backwards upto ri.
6. Ṣaḍja of the middle register.
7. That is, from hāriṇāśva, kalopanatā onwards upto hṛṣyakā.

Section 4 : Grama, Mūrcchanā, Krama and Tāna 171
are formed by gāndhāra etc.⁸ that are placed on madhyama;
the subsequent notes ṣaḍja etc.⁹ and madhyama etc.¹⁰ respecti-
vely may be tuned accordingly. (14c-15)
actually it is not so, because the pañcama of the madhyama-grāma is of
three śruti-s, whereas in the ṣaḍja-grāma it has four; therefore, these
mūrcchanā-s, though similar in appearance, are yet different in content.
Signs . and ˈ (not used here) are respectively indicative of the lower
and the higher register. (12b-14b)
Then the author describes the same phenomenon of the formation
of mūrcchanā-s in quite a different way. The phenomenon remains the
same, only the technique of relating it differs.
As already explained in the previous verse, by the first method
the mūrcchanā-s are formed by placing their initial notes one below the
other. This involves a change of range (sthāna) in the same vīṇā which
has to be mattakokilā, that is provided with 21 strings and has the range
of three registers (cf. Ab. Bh., G. O. S. Vol. IV, p. 122). By this method
the mūrcchanā-s can be worked out as under, either in the range of the
lower and the middle registers, or the middle or the higher registers.
While in the second method explained above, the mūrcchanā-s are
obtained in the same register, but every time the strings have to be
tuned accordingly. Chart 13 (a & b) illustrates the first method and
Chart 13 (c) illustrates the second.
Formation of mūrcchanā-s of the ṣaḍja-grāma
Method I (a)

8. That is, from ga ri backwards upto pa.
9. That is, ṣaḍja and the higher notes.
10. That is, madhyama and the higher notes.

172 Treatment of Svara
Formation of mūrcchanā-s of the ṣaḍja-grāma
Method I (b)
Section 4 : Grāma, Mūrcchanā, Krama and Tāna
(iv) मूर्च्छना-भेदाः
चतुर्धा ताः पृथक् शुद्धाः काकलीकलितास्तथा ।
सान्तरास्तद्द्द्वयोपेताः षट्पञ्चाशदितीरिताः ॥१६॥
श्रुतिद्वयं चेत्षड्जस्य निषादः संश्रयेत्तदा ।
स काकली, मध्यमस्य गान्धारस्त्वन्तरः स्वरः ॥१७॥
(iv) The classification of the mūrcchanā-s : 16-17
These are fourfold, viz. śuddhā¹ (standard), kākalī-inclu-
sive², antara-inclusive³ and inclusive of both⁴; thus, they are
The mūrcchanā-s are classified on the basis of their being inclusive
or exclusive of either of the two notes called kākalī and antara or both of
them. First of all the author defines these two terms. He says, if
niṣāda absorbs two śruti-s of ṣaḍja and is thus established on the 24th
(22+2) or the 2nd śruti (of the next register), being in effect constituted
of four śruti-s, then it is called kākalī niṣāda and also merely as kākalī for
the sake of convenience. Similarly, if gāndhāra incorporates two śruti-s
of madhyama and is thereafter established on the 2nd śruti of madhyama,
being constituted in effect of four śruti-s, then it is called antara-gāndhāra
or merely as antara for the sake of convenience. Both these notes are
considered to be the modified forms of niṣāda and gāndhāra respectively
and are not counted as independent notes by themselves.
Now, he says there are four classes of mūrcchanā-s, viz. (i) those
that are composed exclusively of the standard notes, i. e. the śuddha-
svara-s, (ii) those incorporating kākalī-niṣāda, (iii) those incorporating

1. Śuddhā literally means pure or natural, the term is suggestive
   of the fact that the mūrcchanā-s of this type are composed of
   tones in the standard śruti-relation i. e., 4-3-2-4-4-3-2 or 4-7-
   9-13-17-20-22.
2. Kākalī-inclusive is the one that takes kākalī-niṣāda instead of
   śuddha-niṣāda, the śruti-relation being 4-7-9-13-17-20-2 (i. e.

24. taking 2 śruti-s from the ṣa of the next register.

3. Antara inclusive is that which takes antara-gāndhāra instead
   of śuddha-gāndhāra, the śruti-relation being 4-7-11-13-17-20-22.
4. The fourth type is such that it takes antara-gāndhāra and
   kākalī niṣāda instead of śuddha ga and ni; the śruti-relation
   being 4-7-11-13-17-20-2 (i e. 24).
   However, the śruti relations indicated here pertain to the
   ṣaḍja-grāma; in madhyama grāma pa will be on the 16th śruti
   instead of the 17th.
   Name of the mūrcchanā | 8 9 10 11 12 13 14 | 15 16 17 18 19 20 21
   Uttaramandrā | sa ri ga ma pa dha ni |
   Rajanī | ni | sa ri ga ma pa dha
   Uttarāyatā | dha ni | sa ri ga ma pa
   Śuddha-ṣaḍjā | pa dha ni | sa ri ga ma
   Matsarīkṛtā | ma pa dha ni | sa ri ga
   Aśvakrāntā | ga ma pa dha ni | sa ri
   Abhirudgatā | ri ga ma pa dha ni | sa
   Chart 13 (b)
   Formation of mūrcchanā-s of the ṣaḍja-grāma
   Method II
   Name of the mūrcchanā | Notes and their śruti-intervals
   Uttaramandrā : — sa — ri — ga — ma — pa — dha — ni
   4 3 2 4 4 3 2
   Rajanī : — ni — sa — ri — ga — ma — pa — dha —
   2 4 3 2 4 4 3
   Uttarāyatā : — dha — ni — sa — ri — ga — ma — pa
   3 2 4 3 2 4 4
   Śuddha-ṣaḍjā : — pa — dha — ni — sa — ri — ga — ma
   4 3 2 4 3 2 4
   Matsarīkṛt : — ma — pa — dha — ni — sa — ri — ga
   4 4 3 2 4 3 2
   Aśvakrāntā : — ga — ma — pa — dha — ni — sa — ri
   2 4 4 3 2 4 3
   Abhirudgatā : — ri — ga — ma — pa — dha — ni — sa
   3 2 4 4 3 2 4
   Chart 13 (c)
   These illustrations clearly make out the difference between the two
   methods of mūrcchanā-formation. The one (I) involves change of range
   and therefore requires the mattakokilā vīṇā and the other is done in the
   same register and involves tuning of the vīṇā according to the mūrcchanā-s.
   (14c-15)

174 Treatment of Svara
known to be fiftysix in all. If niṣāda takes two śruti-s of ṣaḍja,
it becomes kākalī⁵, but if gāndhāra appropriates two śruti-s of
madhyama it becomes antara⁶. (16-17)
antara gāndhāra and (iv) those incorporating both kākalī and antara.
Each of the two grāma-s has seven mūrcchanā-s, so both have fourteen;
and then, each of the fourteen is of four types described above. Thus
(14×4=56), altogether we get fiftysix mūrcchanā-s. The four types of
the mūrcchanā-s of the ṣaḍja-grāma are illustrated as under, along with
their śruti-relations.
The four types of mūrcchanā-s

5. The short form of kākalī-niṣāda.
6. The short form of antara gāndhāra.
   Section 4 : Grāma, Mūrcchanā, Krama and ...
   (v) मूर्च्छनासङ्ख्या-परिज्ञानोपायः
   यस्यां यावतियो षड्जमध्यमौ ग्रामयोः क्रमात् ।
   मूर्च्छना तावतित्येव सा निःशङ्केन कीर्तिता ॥१८॥
   (v) The method of indicating the serial number of a
   mūrcchanā : 18
   In the two grāma-s the serial number of a mūrcchanā, as
   pointed out by Śārṅgadeva¹, is that which corresponds to the
   position of ṣaḍja or madhyama in it². (18)
   This is rather a very faithful rendering of the text which in fact
   implies that, since there are fourteen mūrcchanā-s in the two grāma-s,
   seven in each, the question is how to recognise a particular mūrcchanā in
   terms of its being first, second, third, and so on. The author here
   points out that the serial number of a mūrcchanā is indicated by the
   position of ṣaḍja or madhyama in it in the ṣaḍja or madhyama grāma as the
   case may be. For instance, in uttaramandrā a mūrcchanā of the ṣaḍja-
   grāma 'sa ri ga ma pa dha ni' the position of the sa is first, and there-
   fore it indicates that uttaramandrā is the first mūrcchanā of the ṣaḍja-grāma.
   Similarly ṣaḍja being the sixth note in avakrāntā, it indicates it to be
   the sixth mūrcchanā. Also in the case of madhyama-grāma, hāriṇāśva for
   instance has madhyama in the second position (ga ma pa dha ni sa ri)
   and is thereby the second mūrcchanā of the madhyama-grāma.
   (vi) मूर्च्छना-क्रमाः, तेषां सङ्ख्या च
   प्रथमादिस्वरारम्भादेकैका सप्तधा भवेत् ।
   तासुच्चार्यान्त्यस्वरांतान्पूर्वानुच्चारयेत्क्रमात् ॥१९½॥
   ते क्रमास्तेषु संख्या स्याद् द्वानवत्या शतत्रयम् ।
   (vi) The mūrcchanā-series (krama-s) and their number: 19-20b.
   Each one of them¹ becomes sevenfold by commencing
   with the first note and so on². In these³, the last notes hav-
   ing been sung, initial notes may be sung in their respective
7. Niḥśaṅka is the appelation of Śārṅgadeva.
   2, Cf. Dattilam 21.
8. 'Them' refers to the fiftysix mūrcchanā-s of four types described
   in verse 16.
9. That is, from the first to the seventh note.
   3.&4. 'These' refers to the seven mūrcchanā-series, formed as per

176 Treatment of Svara Section 4 : Grāma, Mūrcchanā, Krama and Tāna 177
order. These⁴ are mūrcchanā-series (krama-s) and their num-
ber is three hundred and ninetytwo. (19-20b).
These series of tonal order do not stand in the descending order and
are therefore called krama-s or mūrcchanā-krama-s-i.e., mūrcchanā-series.
Since each of the fiftysix mūrcchanā-s has seven series, the total number of
such sub-varieties comes to (56 x 7 = 392) three hundred and ninetytwo.
The purport is that each one of the fiftysix mūrcchanā-s spoken of
above, has seven series of mūrcchanā-s of its own which are formed by
commencing the mūrcchanā with the first, the second, the third, the
fourth, the fifth, the sixth and the seventh note, keeping the śruti-value
of the notes unaltered. Now, 'S' poses the problem that, if the mūrc-
chanā is commenced with the second note and so on, how can it have
seven notes in it ? The text resolves the difficulty by suggesting that
the last notes may be sung in the first instance and the preceding notes
may be sung in their respective order. Moreover, it is notable that in
this scheme the basic scale is not altered and so the mūrcchanā does not
change, what changes is the order of notes in it, and actually each
mūrcchanā has seven possibilities of such a variety in the order. These
series are therefore called krama-s, literally 'orders'; they are useful in
the computation of kūṭatāna-s (permutational note-series). The series of
mūrcchanā-s are therefore sub-varieties of the mūrcchanā-s and are distin-
guished from the mūrcchanā-s proper by the fact that they are formed only
in the ascending order of notes, whereas the mūrcchanā-s are formed in
the descending order as well. For instance uttaramandrā, the first
mūrcchanā, of the ṣaḍja-grāma is sa ri ga ma pa dha ni : ni dha pa ma
ga ri sa; but the series of this mūrcchanā are recorded as follows :-
These krama-s, named as mūrcchanā-series are considered to be
mūrcchanā-s only in so far as the notes in their ascending order are placed
consecutively and exhibit some sort of order in their arrangement.
Mataṅga, following Bharata, classifies the seven-tonal mūrcchanā-s
in slightly a different way, viz. pūrṇā (complete), ṣāḍavitā (hexatonic),
auḍuvitā (pentatonic) and sādhāraṇī (mixed), the first one of which
incorporates all the seven notes, the second is composed of six notes, the
third is formed with five notes only, while the fourth includes kākalī
or/and antara forms of niṣāda and gāndhāra.
Bharata has defined mūrcchanā as a group of seven notes placed
in order, and he derives mūrcchanā-tāna-s (also called only tāna) from
them by the omission of one or two notes (cf. N. S., G. O. S. IV.
32-33, p. 25). Śārṅgadeva too, basically follows this classification
but technically he applies the term tāna to all those modifications of
mūrcchanā-s that are formed by the omission of one to six notes in the
combinational and permutational note-series (śuddha and kūṭa tāna-s).
(vii) मूर्च्छनानां देवताः
यक्षरक्षोनारदाब्जभवनागाश्विपाशिनः ॥२०॥
षड्जग्रामे मूर्च्छनानामेताः स्युर्देवताः क्रमात् ।
ब्रहेन्द्रवायुगन्धर्वसिद्धद्रुहिणभानवः ॥२१॥
स्युरिमा मध्यमग्राममूर्च्छनादेवताः क्रमात् ।
(vii) The presiding deities of the mūrcchanā-s : 20c-22b
The presiding deities of the mūrcchanā-s of the ṣaḍja-
grāma respectively¹ are yakṣa², rakṣa³, Nārada⁴, Brahmā⁵,

1. That is, from the first mūrcchanā-series to the seventh series.
2. Yakṣa is a class of demigods who are considered to be the
   guards of the treasures of Kubera, the god of wealth.
3. Rakṣa is the name given to evil spirits 'K. R.' in his note
   on verse 20 considers rakṣa-s along with yakṣa-s to be semi-
   celestial beings. He does not elaborate on their function.
4. Nārada is a celestial figure, a sage elevated to be a divine
   roaming minstrel of the three worlds (i.e. the heaven being the
   abode of gods, the earth being the abode of mortals and the un-
   der world below the earth, being the abode of nāga-s or reptiles).
5. The creative aspect of the Hindu trinity.
   this verse; they may be understood as subvarieties of the seven
   mūrcchanā-s, called krama-s in the text. The word krama is used
   in the sense of series in this particular context.
   12

178 Treatment of Svara
nāga,⁶ aśvin⁷ and Varuṇa⁸; and those of the madhyama-grāma
respectively are Brahmā, Indra⁹, Vāyu¹⁰, gandharva,¹¹ siddha¹²
Śiva and sun.¹³ (20c-22b)
(viii) नारदकथितानि मूर्च्छना-नामानि
तासामन्यानि नामानि नारदो मुनिरब्रवीत् ॥२२॥
मूर्च्छनोत्तरवर्णा ऽऽद्या षड्जग्रामे ऽभिरुद्गता ।
अश्वक्रान्ता च सौवीरी हृष्यका चोत्तरायता ॥२३॥
रजनीति समाख्याता ऋषीणां सप्त मूर्च्छनाः ।
आप्यायनी विश्वकृता चन्द्रा हेमा कपर्दिनी ॥२४॥
मैत्री चान्द्रमसी पित्र्या मध्यमे मूर्च्छना इमाः ।
नन्दा विशाला सुमुखी चित्रा चित्रवती सुखा ॥२५॥
आलापा चेति गान्धारग्रामे स्युः सप्त मूर्च्छनाः ।
ताश्च स्वर्गे प्रयोक्तव्या विशेषान्न नोदिताः ॥२६॥
(viii) Nārada's nomenclature for the mūrcchanā-s : 22c-26
The sage Nārada has given¹ another nomenclature for
them² viz. the first in the ṣaḍja-grāma is uttara-varṇā and
then³ abhirudgatā, aśvakrāntā, sauvīrī, hṛṣyakā, uttarāyatā and
Nārada is a celebrated authority of ancient India and this
subject is dealt with in two works ascribed to him, viz. Nāradīya-śikṣā
and Saṅgīta-makaranda. The nomenclature ascribed to Nārada in the
text tallies more or less with the one given in Nāradīya-śikṣā, but is
slightly different from that of Saṅgīta-makaranda (cf. N. Śikṣā 1.2.9-14
6. Nāga, a class of beings inhabiting the world below the earth,
who are likened to serpents.
7. Aśvins are the twin brothers, the sons of the sun and the physi-
cians of the gods.
8. A god of the vedic pantheon and puranic mythology.
9. The chief of the gods.
10. The god of wind.
11. Celestial chorister, a singer in general.
12. A class of demi-gods with supernatural powers, or a perfected
human being.

1. Literally, it would be translated as 'said'.
2. 'Them' refers to the seven mūrcchanā-s of each of the grāma-s.
3. The sense of 'then' is implied in the context.
   Section 4 : Grāma, Mūrcchanā, Krama and Tāna 179
   rajanī; these are the seven mūrcchanā-s of the seers. In the
   madhyama-grāma the mūrcchanā-s are: āpyāyanī, viśvakṛtā, candrā,
   hemā, kapardinī, maitrī and cāndramasī belonging to the manes.
   Nandā, viśālā, sumukhī, citrā, citravatī, sukhā and ālāpā are the
   seven mūrcchanā-s of gāndhāra-grāma; but they have not been
   spoken of in detail as they are to be employed in heaven
   only. (22c-26)
   and S. Mak. 1.2.10-15). However, it is notable that the name uttara-
   varṇā given to the very first mūrcchanā of the ṣaḍja-grāma is not found in
   both of them ; and what is found in its place is uttara-mandra. Besides,
   there are a few other minor variations. That shows that Śārṅgadeva
   probably had access to a different MS. of Nāradīya-śikṣā.
   Another notable point is the distribution of the mūrcchanā-s of the
   three grāma-s among the gods, the seers (who are human beings) and
   the manes. This is in keeping with the Brahminical tradition of
   symbolic characterisation already spoken of. It may however be
   mentioned that, since the seven mūrcchanā-s of the ṣaḍja-grāma only are
   allocated to the seers (ṛṣi-s) these mūrcchanā-s only are considered to
   be of use in this world by the Nāradīya-śikṣā (cf. 1.2.13-14).
   ग. तानाः
   (i) शुद्धताननिर्माणविधिः, सङ्ख्या च
4. शुद्धतानलक्षणम्
   तानाः स्युर्मूर्च्छनाः शुद्धाः षाडवौडुवितीकृताः ।
   C. The tāna-s : 27-90
   (i) The formation and the number of the śuddha-tāna-s
   (specific combinational note-series) : 27-30
   (1) The definition of the śuddha-tāna : (27ab)
   The śuddha¹ (standard) mūrcchanā-s, by dropping one
   Tāna, which has been rendered as 'note-series' is essentially a
   mūrcchanā. The word tāna is derived from the Sanskrit root tan 'to
   spread, to stretch, or to expand, enlarge, develop.
5. Śuddha literally means pure i. e., unmodified or natural. In
   this context, śuddha implies an ascending and descending
   series of seven standard notes placed in their regular order in
   the ṣaḍja or madhyama grāma; and that is why it has been
   rendered here as 'standard'.

Page 180

180 Treatment of Svara
or two notes become śuddha-tāna-s² (specific combinational
note-series). (27ab)
The mūrcchanā-s have been classified into four types (cf. verse 16
ante), viz. standard (śuddha, kākalī-inclusive, antara-inclusive and
inclusive of both. Broadly speaking, these four types fall into two
categories, viz. composed of standard notes only and composed of
standard and modified notes. A tāna is formed by dropping one or
two notes from any standard mūrcchanā. Thus, a śuddha-tāna is nothing
but a standard mūrcchanā deprived of one or two notes.
The word śuddha qualifies both the words mūrcchanā and tāna.
Tāna-s are also of two types śuddha and kūṭa, i. e. combinational and
permutational. 'K' argues that if the word śuddha of the text is taken
merely to qualify the word tāna, then śuddha-tāna-s would proceed from
all the fiftysix mūrcchanā-s already described, and in that case the
number of hexatonic and pentatonic tāna-s would not tally with the
text; while on the other hand, if it qualifies only 'mūrcchanā' then even
kūṭa i. e. permutational tāna-s would also be possible from the standard
mūrcchanā-s, which is contrary to the fact. Thus it is that, śuddha
(standard) mūrcchanā-s when deprived of one or two notes become what
is called the hexatonic and the pentatonic combinational note-series.
Mataṅga, however, points out another difference between mūrcchanā and
tāna. He says : "mūrcchanā proceeds in the ascending order, while tāna
proceeds in the descending order only." So tāna, as differentiated by
him, is restricted to the descending order of notes only.

2. Tāna, in the ancient terminology, is a series of five to six notes
   in a specific combinational order called śuddha-tāna (specific
   combinational note-series). Though śuddha-tāna is the full
   expression, when writing about it in its context, the word
   śuddha is taken for granted and mere tāna is used instead.
   Accor dingly, the expression specific combinational note-series
   is also sometimes replaced by the simple term note-series (in
   due context). But tāna as such has to be distinguished from
   kūṭa-tāna (permutational note-series) to be defined presently.
   However, in modern music tāna, as defined by Ravi Shankar,
   is a musical phrase sung on vowels, syllables or words drawn
   out or stretched by expressive passages. (cf. Glossary of
   technical words, My Music My Life).

Page 181

Section 4 : Grāma, Mūrcchanā, Krama and Tāna 181

2. षाडवतानाः

षड्जगाः सप्त हीनाश्चेत्क्रमात्स्रिरिपसप्तमैः ॥२७॥
तदा ऽष्टाविंशतिस्ताना मध्यमे सरिगोर्झताः ।
सप्त क्रमाद्यदा तानाः स्युस्तदा त्वेकविंशतिः ॥२८॥
एते चैकोनपञ्चाशदुभये षाडवा मताः ।
(2) The hexatonic note-series : (27c-29b)
The seven (mūrcchanā-s) of the ṣaḍja-grāma, by an indi-
vidual omission of sa, ri, pa and ni¹ in their respective turn,
make twenty-eight (note-series). Similarly, the seven
(mūrcchanā-s) of the madhyama-grāma, by the omission of sa, ri
and ga in turn respectively form twentyone (note-series).
Both of them put together, are considered to be fortynine
hexatonic note-series.² (27c-29b)
Though the combinational (śuddha) note-series (tāna-s) are derived
from the standard (śuddha) mūrcchanā-s, the latter is distinguished by the
absence of modified notes, the former is distinguished not only
by the absence of kākalī and antara notes, but also by the absence
of any change in the regular arrangement of notes. If the note-series
is set in the permutational form then it is called kūṭa-tāna i. e. permu-
tational note-series. The note-series are formed by the omission of one
or two notes. If one of the seven notes is omitted, what we get is a
hexatonic note-series and if two out of the seven are omitted we get
pentatonic note-series.
'K' raises the question that, "since pañcama determines the grāma,
if it is omitted, how can it discharge this function ?" He resolves the
difficulty by pointing out that the pañcama can only be omitted in the
ṣaḍja-grāma; therefore, even its omission is indicative of that particular
grāma.
'S' explains at length how we get twentyeight note-series in the
ṣaḍja-grāma and twentyone note-series in the madhyama-grāma. When
the seven mūrcchanā-s of the ṣaḍja-grāma are deprived of ṣaḍja, then we
get seven hexatonic note-series, likewise when deprived of ri, pa and ni
respectively, we get seven other such series in each case, making twenty-
eight in all. Similarly, in the madhyama-grāma when the standard

1. Saptama—literally means the seventh (note) i. e. ni.
2. That is, 'ṣāḍava-tāna-s'.

182 Treatment of Svara
mūrcchanā-s are deprived of sa, ri and ga respectively, they form into
twentyone note-series. Taken together, we get forty-nine hexatonic
note-series. That is how the standard mūrcchanā-s being deprived of
one or two notes become combinational note-series.
An illustration of the hexatonic note-series with the omission of
sa in the ṣaḍja-grāma
No. Name of the mūrcchanā Form of the mūrcchanā
1 Uttaramandrā x ri ga ma pa dha ni
2 Rajanī ni x ri ga ma pa dha
3 Uttarāyatā dha ni x ri ga ma pa
4 Śuddhaṣaḍjā pa dha ni x ri ga ma
5 Matsarīkṛtā ma pa dha ni x ri ga
6 Aśvakrāntā ga ma pa dha ni x ri
7 Abhirudgatā ri ga ma pa dha ni x
(Chart 16*)
Note :—x denotes omitted sa.
* Adopted from S. Raj. Vol. I, p. 132.
3. औडुवतानाः
सपाभ्यां द्विश्रुतिभ्यां च रिपाभ्यां सप्त वर्जिताः ॥२९॥
षड्जग्रामे पृथक्ताना एकविंशतिरोडुवाः ।
रिधाभ्यां द्विश्रुतिभ्यां च मध्यमग्रामगास्तु ते ॥३०॥
हीनाश्चतुर्दशैव स्युः पञ्चत्रिंशत्तु ते युताः ।
(3) The pentatonic note-series : (29c-31b)
Besides, the seven (standard mūrcchanā-s) of the ṣaḍja-
-grāma being deprived of sa and pa, ga and ni¹ and ri and pa
respectively form twentyone pentatonic note-series; while
those of the madhyama-grāma being short of ri and dha and ga
and ni² respectively become fourteen (tāna-s): altogether,
they make thirtyfive. (29c-31b)
Just as the standard mūrcchanā-s by dropping one note become
hexatonic note-series, by dropping two notes they become pentatonic
note-series. In ṣaḍja-grāma, by the omission of sa and pa we get one set
of seven pentatonic note-series, by the omission of ga and ni, another set
of seven and by the omission of ri and pa the third set of seven, making
twentyone in all. Similarly, in the madhyama-grāma by the omission of
1 & 2. Dviśruti of the text literally means a bi-śrutic note; ga
and ni are the two notes with two śruti-s each.
Section 4 : Grāma, Mūrcchanā, Krama and Tāna 183
4. षाडवौडुवतान-मिलितसङ्ख्या
सर्वे चतुरशीतिः स्युर्मिलिताः षाडवौडुवाः ॥३१॥
(ii) कूटताननिर्माणं, तेषां सङ्ख्या च

1. कूटतानलक्षणम्
   असम्पूर्णाश्च सम्पूर्णा व्युत्क्रमोच्चारितस्वराः ।
   मूर्च्छनाः कूटतानाः स्युः,
   (1) Total number of hexatonic and pentatonic combinational
   note series (śuddha-tāna-s) : (31cd)
   However, the hexatonic and the pentatonic (specific
   combinational) note-series make eightyfour in all. (31cd)
   (ii) The formation and the number of kūṭa (permutational)
   tāna-s (note-series) : 32-49
   (1) The definition of kūṭa-tāna (permutational) note-
   series) : (32 abc)
   The complete or incomplete mūrcchanā-s with their notes
   produced in a permuted form become permutational note-
   series (kūṭa-tāna-s). (32a-32c)
   ri and dha we get one set of seven pentatonic series, and by the omission
   of ga and ni, the second set, making fourteen in all. Thus the pentatonic
   note-series in both the grāma-s are counted as thirtyfive and the number
   of both the hexatonic and the pentatonic note-series in both the grāma-s
   is considered to be (49+35 = 84) eightyfour. An illustration of a penta-
   tonic note-series is given as under. We know that mūrcchanā is in the
   ascending as well as in the descending order of notes.
   An illustration of the pentatonic note-series with the omission
   of sa and pa in the ṣaḍja-grāma
   No | Name of the mūrcchanā | Form of the mūrcchanā
   1 | Uttaramandrā | x ri ga ma • dha ni
   2 | Rajanī | ni x ri ga ma • dha
   3 | Uttarāyatā | dha ni x ri ga ma •
   4 | Śuddha-ṣaḍjā | • dha ni x ri ga ma
   5 | Matsarīkṛt | ma • dha ni x ri ga
   6 | Aśvakrāntā | ga ma • dha ni x ri
   7 | Abhirudgatā | ri ga ma • dha ni x
   (Chart 17*)
   Note:—x denotes sa and • denotes pa.
   *Adopted from S. Raj. Vol. I, p. 136.