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

248 Treatment of Svara
8. सन्धिप्रच्छादनः
त्रिस्वरा ऽऽद्या कला ऽन्ये च पूर्वपूर्वान्तिमादिमे ।
कले स्तस्त्रिस्वरे यत्र सन्धिप्रच्छादनस्तु सः ॥२३॥
सरिग गमप पधनि । (८)
9. उद्गीतः
यदा ऽऽद्याद्यस्त्रिरावृत्तः कलयोस्त्रिस्वरात्मनोः ।
तदोद्गीतः,
सससरिग मममपध । (९)
10. उद्वहितः
,मध्यमेन तादृशोद्वाहितो मतः ॥२४॥
सरिरिरिग मपपपध । (१०)
pair with the preceding one⁸, it is called ākṣipta, e. g. 'sa-ga
ga-pa pa-ni'. (22)
(8) Sandhipracchādana
Where the first phrase (kalā) consists of three tones and
the other two have the last tone of their preceding phrase as
their first in a group of three tones, it is (called) sandhipracchā-
dana, e. g. 'sa-ri-ga ga-ma-pa pa-dha-ni'. (23)
(9-12) Udgīta, udvāhita, trivarṇa and pṛthagveṇī
When in two phrases of three tones each, the first tone is
repeated thrice, it is udgīta, e. g. 'sa-sa-sa-ri-ga ma-ma-ma-pa-
dha' (9) and in that, if the middle tone is repeated similarly,
it is considered to be udvāhita, e.g. 'sa-ri-ri-ri-ga ma-pa-pa-pa-
dha' (10). If, however, the last (third) tone⁹ is repeated, it is
described as trivarṇa, e.g. 'sa-ri-ga-ga-ga, ma-pa-dha-dha-dha'
(10)
8. That is, for example in the second pair the succeeding tone
after dropping the 4th tone is pa which is prefixed by the
3rd ga.
9. Of each phrase.

Section 6 : Varṇālaṅkāra 249
11. त्रिवर्णः
अन्त्यस्य तु त्रिरावृत्तौ त्रिवर्णं वर्णयन्त्यमुम् ।
सरिगगग मपधधध । (११)
12. पृथग्वेणिः
त्रयाणां तु त्रिरावृत्तौ पृथग्वेणिरुदीरितः ॥२५॥
ससस रिरिरि गगग, ममम पपप धधध । (१२)
(च) अवरोहिवर्णगतालंकाराः
अवरोहक्रमादेते द्वादशाप्यवरोहिणि ।
(छ) सञ्चारिवर्णगतालंकारोद्देशः
मन्द्रादिर्मन्द्रमध्यश्च मन्द्रान्तः स्यादतः परम् ॥२६॥
प्रस्तारश्च प्रसादोऽथ व्यावृत्तस्खलितावपि ।
परिवर्तक्षेपबिन्दूद्वाहितोर्मिसमास्तथा ॥२७॥
If, however, the last (third) tone⁹ is repeated it is described as
trivarṇa, e. g. sa-ri-ga-ga-ga, ma-pa-dha-dha-dha. (11) But, if
all the three tones¹⁰ are repeated thrice (in the above pattern),
it is called pṛthagveṇī,¹¹ e. g. 'sa-sa-sa ri-ri-ri ga-ga-ga ma-
ma-ma pa-pa-pa dha-dha-dha' (12). (24-25)
(f) The embellishments of the descendant tone-pattern :
26ab
These very twelve in their descending order are known
as descendant embellishments.¹² (26ab)
(g) The embellishments of the circulatory (sañcārī) tone-
pattern: 26c-53
The twentyfive embellishments based on the circulatory
tone-pattern (sañcārī varṇa) are named as follows : mandrādi,
mandramadhya as followed by mandrānta; prastāra, prasāda and
10. Of each phrase.
11. Cf. verse 15 ante where it is called veṇī, and S. Raj. Vol. I
2.1.3. 58-59 and K. R. 103 who follow suit. However, it is
notable that 'S' calls it pṛthagveṇī.
12. That is, the ascendant embellishments as described above
when ordered in the descendant movement.

Page 250

250 Treatment of Svara
प्रेङ्खनिष्कूजितश्येनक्रमोद्घट्टितरञ्जिताः ।
संनिवृत्तप्रवृत्तोऽथ वेणुश्च ललितस्वरः ॥२८॥
हुङ्कारो ह्रादमानश्च ततः स्यादवलोकितः ।
स्युः सञ्चारिण्यलङ्काराः पञ्चविंशतिरित्यमी ॥२९॥

1. मन्द्रादिः
   त्रिस्वरा ऽद्या कलैकैकमन्द्रत्यागेन चापराः ।
   त्रिस्वराश्चेत्कला मन्द्राद्या मन्द्रादिस्तदा भवेत् ॥३०॥
   सगरि रिमग गपम मधप पनिध (१)
   vyāvṛtta as well as skhalita; parivarta, ākṣepa, bindu, udvāhita,
   ūrmi and sama; preṅkha, niṣkūjita, śyena, krama, udghaṭṭita and
   rañjita; sannivṛtta, pravṛtta and veṇu; lalitasvara, huṅkāra and
   hrādamāna followed by avalokita. (22c-29)
2. Mandrādi
   When the first phrase of three tones beginning with the
   lower¹ one is followed by other similar² phrases formed by
   dropping the lower tone one by one³, then it becomes
3. The word lower is used in the technical sense in this section as
   already explained (vide verse 6 cd—8 ante). ‘S’ puts the
   three tones in the order 1, 3, 2. i.e. sa-ga-ri and so on, but there
   is no indication of this order of notes in the text.
4. The text repeats the formation, viz. each phrase has to be of
   three tones and is to commence with the lower tone.
5. That is, in the 2nd phrase sa is dropped, in the 3rd phrase ri
   is dropped, in the 4th phrase ga is dropped and finally, ma is
   dropped. So as a rule the lower tone is progressive. It may
   be observed here that the definition of this tone-pattern does
   not explicitly seem to correspond with the given illustration.
   The definition only prescribes that the first tone of every
   phrase of three tones will be lower (mandra) but does not at the
   same time lay down the order of the other two tones which is
   left to be inferred. Since the first tone is specified to be low, the
   implication is that the following two tones are not to be placed
   in their natural order and the specification with regard to the
   first one would be redundant ‘S’ has brought out this
   implication clearly by elucidating that the first phrase consists
   of three tones in the order of first, third and second etc.
   obviously his interpretation is inspired by the given illustration.
   But Kumbhā has defined this tone-pattern in very clear and
   explicit terms which leaves no room for ambiguity. He says

Page 251

Section 6 : Varṇālaṅkāra 251
2. मन्द्रमध्यः
ताः कला मन्द्रमध्यान्ताः क्रमाच्चेदपरौ तदा ।
मन्द्रमध्यो यथा--
गसरि मरिग पगम धमप निपध । (२)
3. मन्द्रान्तः
मन्द्रान्तो यथा--
रिगस गमरि मपग पधम धनिप । (३)
4. प्रस्तारः
त्यक्त्तान्तरं स्वरयुगं त्यक्तादारभ्यते पुनः ॥३१॥
युगं तादृक्समारोहेत्तया प्रस्तार उच्यते ।
सग रिम गप मध पनि । (४)
_mandrādi_⁴, e.g. ‘sa-ga-ri ri-ma-ga ga-pa-ma ma-dha-pa pa-
ni-dha.’ (30)
2, 3. Mandra-madhya and mandrānta
In these very phrases⁵ if the ‘lower’ (mandra) is placed
in the midst⁶ or at the end⁷ (the initial phrase) being
followed by others in due order, then it is called mandra-
madhya or mandrānta, e.g. ‘ga sa-ri ma-ri ga, pa-ga-ma dha-
ma-pa ni-pa-dha’ or ‘ri-ga-sa ga-ma-ri ma-pa-ga pa-dha-ma
dha-ni-pa, respectively. (31ab)
4. Prastāra
When a pair of tones is formed by dropping the tone
in-between them and is followed by another pair similarly
formed but initiated by the tone omitted (in the previous
“In mandrādi there are five phrases of three tones each beginn-
ing with sa etc., while the third (tone) in each is placed in the
middle (S. Raj. II 1. 3. 69). Here the order of all the three
tones is explicitly laid down. Of course his definition and
illustration both correspond to S. R. in substance.
4. Lit. having the lower tone in the beginning.
5. In all the five phrases illustrated above.
6. That is, the middle tone of (1) is placed in the beginning.
7. The last (3rd) tone of (1) is placed as the 1st and the commenc-
ing tone.

252 Treatment of Svara
5. प्रसादः
पूर्वः पूर्वः परस्योर्ध्वाधोवर्ती क्रियते स्वरः ॥३२॥
यदा तदा प्रसादं तमाह श्रीकरणेश्वरः ।
सरिस रिगरि गमग मपम पधप धनिध । (५)
6. व्यावृत्तः
चतुःस्वरा कला तत्राद्यात्तृतीयं द्वितीयकात् ॥३३॥
तुर्यं गत्वा ऽऽदिमं गच्छेदैवमेकैकहानतः ।
चतुःस्वराः परा यत्र स व्यावृत्तः स्मृतो बुधैः ॥३४॥
सगरिमस रिमगपरि गपमधग मधपनिम । (६)
pair), and an ascent is made in this way, it is said to be
prastāra, e. g. ‘sa-ga ri-ma ga-pa ma-dha pa-ni’. (31c-32b)
5. Prasāda
When every⁸ preceding tone precedes as well as follows
the next tone⁹, then it is prasāda as declared by Śrīkaraṇe-
śvara¹⁰, e.g. ‘sa-ri-sa ri-ga-ri ga-ma-ga ma-pa-ma pa-dha-pa
dha-ni-dha’. (32c-33b)
6. Vyāvṛtta
Where a phrase consisting of four tones proceeding
from the first to the third, and then from the second to the
fourth tone returns to the first¹¹ and is similarly followed by
other phrases of four tones dropping a tone¹², one by one¹³,
it is considered by the sages to be vyāvṛtta, e.g. ‘sa-ga-ri-ma-sa
ri-ma-ga-pa-ri ga-pa-ma-dha-ga ma-dha-pa-ni-ma’. (33c-34)
8. The preceding tone of every phrase.
9. The implication is that every phrase will have three tones
and the tone referred to as ‘the next’ will be the middle one.
10. Śārṅgadeva.
11. The tones are arranged in the order 1, 3, 2, 4, 1.
12. That is the second phrase will drop the first tone, the third
will drop the second and the fourth will drop the third tone.
13. That is, omitting one tone progressively.

Section 6 : Varṇālaṅkāra 253
7. स्खलितः
कलां प्रयुज्य मन्द्रादेर्द्विरुक्तोर्ध्वस्वरान्विताम् ।
अवरोहेत चेदेष स्खलिताख्यस्तदा भवेत् ॥३५॥
सगरिममरिगस रिमगपपगमरि गपमधधमपग
मधपनि निपधम । (७)
8. परिवर्तकः
स्वरं द्वितीयमुज्झित्वा त्रिस्वरा ऽऽद्या कला यदि ।
त्यक्तादारभ्य तादृश्यो ऽन्यास्तदा परिवर्तकः ॥३६॥
सगम रिमप गपध मधनि । (८)
9. आक्षेपः
त्रिस्वराश्चेत्कलाः पूर्वपूर्वतPropsर्ध्वसंक्रमैः ।
तदा ऽऽक्षेपः
सरिग रिगम गमप मपध पधनि । (९)
7. Skhalita
Employing a phrase of mandrādi¹⁴ followed by the next
tone¹⁵ as used twice, if one descends¹⁶, then it is called
skhalita, e.g. ‘sa-ga-ri-ma-ma-ri-ga-sa, ri-ma-ga-pa-pa-ga-ma-ri,
ga-pa-ma-dha-dha-ma-pa-ga, ma-dha-pa-ni-ni-pa-dha-ma’. (35)
8. Parivartaka
If the first phrase consisting of three tones barring the
second one is followed by similar¹⁷ phrases starting with the
omitted¹⁸ tones, then it is parivartaka, e.g. sa-ga-ma ri-ma-pa
ga-pa-dha ma-dha-ni (36)
9. Ākṣepa
If the phrases of three tones progress in the ascending
order, dropping the first tone¹⁹ of the preceding phrase, then
14. That is, ‘sa-ga-ri’.
15. That is, ma after the first phrase.
16. Descends to the starting tone of the phrase.
17. Similarly dropping the second tone as counted from their
first tone.
18. That is, second from the first tone of the phrase.
19. This would naturally apply only to the subsequent phrases and
not to the first one.

line: ga-dha3-ga-dha-
Then the next svara should be: ma-ni3-ma-ni'.
Wait, look at line 6:
What is written in line 6?
Wait, does line 6 say:
ma-ni3-ma-ni'. (39b-40c)?
Wait! Look at line 6:
Wait, is line 6 ma-ni?
Look at the characters in line 6:
m a - n i 3 - m a - n i ' . ( 3 9 b - 4 0 c )
Wait, look at 3ma-ni below it:
Why is 3ma-ni there?
Could line 6 NOT be ma-ni3-ma-ni'?
Wait! What IS written in line 6?
Look at line 6:
ma-ni3-ma-ni'. -> wait, look at the letters:
m - yes
a - yes
- - yes
n - yes
i - yes
3 - yes
- - yes
m - yes
a - yes
- - yes
n - yes
i -

256 Treatment of Svara
14. प्रेङ्खः
कला गतागतवती द्विस्वरैरेकैकहानतः ॥४१॥
यत्रान्यास्तादृशः स स्यात्प्रेङ्खः,
सरिरिस रिगगरि गममग मपपम पधधप ध निनिध । (१४)
15. निष्कूजितः
, निष्कूजितः पुनः ।
प्रसादस्य कलां गीत्वा तत्कलाऽऽद्येस्तुतीयकम् ॥४२॥
गत्वा ऽऽद्यगानाद्भवति,
सरिसगस रिगरिमरि गमगपग मपमधम पधपनिप । (१५)
16. श्येनः
, श्येनः संवादि युग्मकैः ॥४३॥
क्रमात्सरिगमाद्यैः स्यात्,
सप रिध गनि मस । (१६)
14. Preṅkha
Where the phrases move forward and then backward²⁸
by two tones with the subsequent²⁹ phrases forming them-
selves similarly by dropping a tone by and by³⁰ successively,
it becomes preṅkha, e.g. ‘sa-ri-ri-sa ri-ga-ga-ri ga-ma-ma-ga
ma-pa-pa-ma pa-dha-dha-pa dha-ni-ni-dha.’ (41c-42b)
15. Niṣkūjita
Having sung a phrase of prasāda³¹, and proceeding to
the third (tone) from the initial (tone), if the initial is sung,
it becomes niṣkūjita, e.g. ‘sa-ri-sa-ga-sa ri-ga-ri-ma-ri ga-ma-ga-
pa-ga ma-pa-ma-dha-ma pa-dha-pa-ni-pa’. (42b-43a)
16. Śyena
Śyena is (formed) by the consonant³² pairs³³ beginning
respectively with sa, ri, ga and ma, e.g. ‘sa-pa ri-dha ga-ni
ma-sa’. (43b-44a)³⁴
28. In the order of ascent and descent.
29. The phrases following the first tone.
30. Dropping the initial note of the preceding phrase.
31. Phrases of prasāda may be seen vide verse No. 33 ante and
embellishment No. 5 in this series.
32. The consonance in this case consists in the interval of thirteen
śruti-s, known as the ṣaḍja-pañcama relation.
33. Pairs of tones.
34. Verse 43 consists of one line only.

Section 6 : Varṇālaṅkāra 257
17. क्रमः
, कला द्वित्रिचतुःस्वराः ।
आद्यस्वराद्यास्तिस्रः स्युर्द्वितीयाद्यादयस्तथा ॥४४॥
यत्रासौ क्रम इत्युक्तः,
सरिसरिगसरिगम रिगरिगमरिगमप गमगमपगमपध
मपमपधमपधनि । (१७)
18. उद्घट्टितः
, स तूद्घट्टित उच्यते ।
यत्र स्वरद्वयं गीत्वा पञ्चमाच्चतुरः स्वरान् ॥४५॥
अवरोहेत्कला गायेत्तथैकैकोज्झनात्पराः ।
सरिपमगरि रिगधपमग गमनिधपम । (१८)
17. Krama
(The embellishment) in which there are three phrases
consisting of two, three and four tones respectively commen-
cing with the initial³⁵ tone and three (similar) phrases
commencing with the second tone and so on³⁶, is called krama,
e.g. ‘sa-ri-sa-ri-ga-sa-ri-ga-ma, ri-ga-ri-ga-ma-ri-ga-ma-pa, ga-
ma·ga, ma-pa-ga-ma-pa-dha, ma-pa-ma-pa-dha-ma-pa-dha-ni.’
(44b-45a)
18. Udghaṭṭita
Where (in a phrase) after singing two tones,³⁷ one
descends four tones from the fifth³⁸ and sings the subsequent
phrase (similarly) by dropping one³⁹ tone in each case, it is
said to be udghaṭṭita, e.g. ‘sa-ri-pa-ma-ga-ri, ri-ga-dha-pa-
ma-ga-ga-ma-ni-dha-pa-ma’. (44b-46b)
35. The first tone of the mūrcchanā.
36. Added to these two will be the three phrases commencing with
the third tone and the three phrases commencing with the
fourth tone.
37. Beginning with the first tone of the mūrcchanā.
38. Fifth as counted from the initial tone of a phrase.
39. The initial tone of the preceding phrase.
17

Left Page (p. 258)

258 Treatment of Svara
19. रञ्जितः
द्विरुक्ता यदि मन्द्रान्ता मन्द्रादेः स्युः कलास्तदा ।।४६।।
रञ्जितः,
सगरिसगरिस रिमगरिमगरि गपमगपमग मधपमधपम
पनिधपनिधप । (१३)
20. संनिवृत्तप्रवृत्तकः
, अथ भवेदेष संनिवृत्तप्रवृत्तकः ।
यत्राद्यपञ्चमौ गीत्वा तुर्यात्त्रीनवरोहति ।।४७।।
क्रमात्कला सा यत्रान्यास्तद्वदेकैकहानतः ।
सपमगरि रिधपमग गनिधपम । (२०)
19. Rañjita
If the phrases are such that mandrādi⁴⁰ is sung twice
followed by the 'lower'⁴¹ in the end, then it is rañjita, e. g.
'sa-ga-ri-sa-ga-ri-sa, ri-ma-ga-ri-ma-ga-ri, ga-pa-ma-ga-pa-ma-ga,
ma-dha-pa-ma-dha-pa-ma, pa-ni-dha-pa-ni-dha-pa'. (46c-47a)
20. Saṃnivṛttapravṛttaka
Where, having sung the first⁴² and the fifth⁴³ (tones)
one descends by three consecutive tones from the fourth⁴⁴
(tone) in the first phrase, and where other phrases are
similarly framed by dropping one tone⁴⁵ in each, it becomes
saṃnivṛttapravṛttaka, e. g. 'sa-pa-ma-ga-ri, ri-dha-pa-ma-ga, ga-
ni-dha-pa-ma.' (47a-48b)
40. This embellishment is based on the tonal embellishment called
mandrādi illustrated vide verse 22 ante, and numbered as 6.
41. The lower tone i. e. the initial of the phrase in this case.
42. The first of the mūrcchanā.
43. Ascending from first to the fifth tone.
44. The three tones to be counted from the fourth one; for the
descent, as it is, is from the fifth.
45. The inital tone of the preceding phrase.

Right Page (p. 259)

Section 6 : Varṇālaṅkāra 259
2.0 वेणुः
यत्राद्यः स्याद् द्विर्द्वितीयचतुर्थकतृतीयकाः ।।४८।।
सकृत्कला ऽन्याश्चैकैकहानाद्द्वेणुरसौ मतः ।
ससरिमग रिरिगपम गगमधप ममपनिध । (२१)
22. ललितस्वरः
गीत्वा ऽऽद्यौ द्वौ चतुर्थं च यस्यां ताववरोहति ।।४९।।
सा कला ऽन्याश्च तादृश्यो यत्रासौ ललितस्वरः ।
सरिमरिस रिगपगरि गमधमग मपनिपम । (२२)
23. हुङ्कारः
आदिमेन कला यत्र द्विस्वरा ऽऽद्या गतागतैः ।।५०।।
21. Veṇu
Where the (first) phrase is (formed) with the first
tone⁴⁶ (sung) twice and then the second, fourth and the
third once, and is followed by other similar phrases dropping
one tone in each case, it is considered to be veṇu, e. g.
sa-sa-ri-ma-ga, ri-ri-ga-pa-ma, ga-ga-ma-dha-pa, ma-ma-pa-
ni-dha'. (48c-49b)
22. Lalitasvara
Having sung the first two tones⁴⁷ followed by the
fourth, if one descends by those very (two) tones⁴⁸ in a
phrase, with the other similar⁴⁹ phrases following, it is
lalitasvara, e. g. 'sa-ri-ma-ri-sa, ri-ga-pa-ga-ri, ga-ma-dha-ma-ga,
ma-pa-ni-pa-ma'. (49c-50b).
23. Huṅkāra
Where the first phrase is of two tones followed by the
initial (tone) arranged in the forward and backward order⁵⁰,
46. The first tone of the preceding phrase.
47. The first two of the mūrcchanā.
48. That is, the first two of the phrase.
49. The rule that the other phrases would drop the first tone of the
preceding phrase, though not stated, is implied in the illustration.
50. Forward movement is ascending and backward movement is
descending, sa to ri in the first phrase is as ascent and ri to sa
is the descent.

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260 Treatment of Svara
स्वरैरेकोत्तरं वृद्धैः स हुङ्कारो निगद्यते ।
सरिस सरिगरिस सरिगमगरिस सरिगमपमगरिस
सरिगमपधपमगरिस सरिगमपधनिधपमगरिस (२३)
24. ह्रादमानः
ह्रादमाने प्रसन्नान्ता मन्द्रादेस्तु कला मताः ॥५१॥
सगरिस रिमगरि गपमग मधपम पनिधप ॥२४॥
25. अवलोकितः
यदा ऽऽरोहे ऽवरोहे च स्वद्वितीयं परित्यजेत् ।
चतुःस्वरा समा कला तदा स्यादवलोकितः ॥५२॥
सगममरिस रिमपपगरि गपधधमग मधनिनपम ॥२५॥
and the subsequent phrases are (formed, by the progressive
addition of one tone⁵¹, it is called huṅkāra, e. g. ‘sa-ri-sa
sa-ri-ga-ri-sa, sa-ri-ga-ma-ga-ri-sa, sa-ri-ga-ma-pa-ma-ga-ri-sa,
sa-ri-ga-ma-pa-dha-pa-ma-ga-ri-sa, sa-ri-ga-ma-pa-dha-ni-dha
pa-ma-ga-ri-sa.’ (50c-51b)
24. Hrādamāna
In hrādamāna the phrases of Mandrādi are ended with
an added ‘lower’⁵² (prasanna), e. g. ‘sa-ga-ri-sa, ri-ma-ga-ri,
ga-pa-ma-ga, ma-dha-pa-ma, pa-ni-dha-pa.’ (51cd)
25. Avalokita
When the four-tone phrase of samā⁵³ drops⁵⁴ its second
tone⁵⁵ in the ascent as well as in the descent, then it becomes
51. One tone to be added to the preceding phrase before the
descent begins, so that the first phrase, extending upto two
tones (excluding the descending tone), the second upto three,
the third upto four, the fourth upto five, the fifth upto six and
the sixth upto seven tones, is followed by a descent upto the
intial tone in each case.
52. Lower tone, i. e. the first tone in the first phrase, second in
the second phrase and so on.
53. Samā is the name of an embellishment defined and illustrated
vide verse 40c-41b ante, under No. 13 of this series. The first
phrase of samā for example is ‘sa-ri-ga-ma-ma-ga-ri-sa.’
54. A figurative expression, the action is taken by the singer in fact.
55. The second tone of each phrase respectively in the ascent and
in the descent.

Page 261

Section 6 : Varṇālaṅkāra 261
एवं सञ्चार्यलङ्कारा आरोहेण प्रदर्शिताः ।
एतानेवावरोहेण प्राह श्रीकरणाग्रणीः ॥५३॥
(झ) सप्तान्यलंकारोद्देशः
अन्ये ऽपि सप्तालंकारा गीतज्ञैरुपदर्शिताः ।
तारमन्द्रप्रसन्नश्च मन्द्रतारप्रसन्नकः ॥५४॥
आवर्तकः सम्प्रदानो विधूतो ऽप्युपलोलकः ।
उल्लसितश्चेति तेषामधुना लक्ष्म कथ्यते ॥५५॥
avalokita, e. g, ‘sa-ga-ma-ma-ri-sa, ri-ma-pa-pa-ga-ri, ga-pa-
dha-dha-ma-ga, ma-dha-ni-ni-pa-ma’. (52)
Thus, the circulatory embellishments (sañcāri-alaṅkāra-s)
have been demonstrated in their ascending order. These
very embellishments are conceived in the descending order
as well by Śārṅgadeva.⁵⁶ (53)
(h) Seven other embellishments :
Other seven embellishments have also been indicated¹
by the master musicians, viz. tāramandra-prasanna, mandratāra-
prasanna², āvartaka, sampradāna, vidhūta, upalola³ and ullasita.
They are now being defined. (54-55)
Their phrases subsequent to the first⁴, such as second
and so on, are formed by the progressive loss of one tone⁵.
(56 ab)
56. Śrīkaraṇāgraṇī in the text.

1. Or demostrated.
   2 & 3. The suffix ‘ka’ in the text seems to have been provided for
   completing the metre as it has been dropped in the illust-
   ration.
2. In the case of these seven embellishments the form of the first
   phrase only will be defined, while the rule for the subsequent
   phrases has been stated in general.
3. The initial tone of of the preceding phrase.

Page 262

262 Treatment of Svara
1. तारमन्द्रप्रसन्नः
कलास्तेषां द्वितीयाद्याः पूर्वैकैकप्रहाणतः ।
अष्टमस्वरपर्यन्तमारुह्याद्यं व्रजेद्यदि ॥५६॥
तारमन्द्रप्रसन्नो ऽयमलंकारस्तदोच्यते ।
संरिगमपधनिसंसं ।१।
2. मन्द्रतारप्रसन्नः
मन्द्रादष्टममुत्प्लुत्य सप्तकस्यावरोहणे ॥५७॥
मन्द्रतारप्रशन्नाख्यमाह माहेश्वरोत्तमः ।
संसंनिधपमगरिसं ।२।
3. आवर्तकः
आद्यं द्वितीयमाद्यं च द्विर्द्विर्गत्वा द्वितीयकम् ॥५८॥

1. Tāramandra-prasanna
   Having ascended upto the eighth tone, if one descends to the
   initial (tone), such an embellishment is called tāramandra-
   prasanna⁶, e. g. 'śā-ri-ga-ma-pa-dha-ni-śā-śá'. (56c-57b)
2. Mandratāra-prasanna
   Having jumped from the 'lower' (mandra) to the eighth
   (tone), if seven tones are (sung) in the descending order, it
   is said to be mandratāra-prasanna by Śārṅgadeva⁷, e. g.
   'śā-śu-ni-dha-pa-ma-ga-ri-śá'. (57c-58b)
3. Āvartaka
   Where, in a phrase, one sings the initial (first), the
   second and the initial tone twice, each followed by the
4. Since both the terms, mandra and prasanna are used in this
   name, the interpretation offered by Nijenhuis, 'clear in its
   high and low notes' may be accepted in this context. Prasanna
   has been rendered literally as clear however the notation may
   be understood as defined by the author in the very beginning,
   the words mandra and tāra being only relative.
5. Literally, the best among the devotees of Śiva.

Page 263

Section 6 : Varṇālaṅkāra 263
सकृदाद्यं यत्कलायां गायेदावर्तकस्तु सः ।
ससरिरिसससरिस रिरिगगरिरिरिगपरि गगममगगमगमग
ममपपममपमपम पपधधपपधपधप धधधिनिनिधधनिध ।३।
4. सम्प्रदानः
एतस्यैव कला ऽन्त्यौ द्वौ स्वरौ संत्यज्य गीयते ॥५९॥
यदा तदा सम्प्रदानमलंकारं विदुर्बुधाः ।
ससरिरिसस रिरिगगरिरि गगममगग ममपपमम पपधधपप
धधधिनिनिधध ।४।
5. विधूतः
युग्ममेकान्तरितयोस्त्यक्तादप्येवमेव चेत् ॥६०॥
द्विर्द्विः प्रयुज्येत तदा विधूतो बुधसंमतः ।
सगसग रिमरिग गपगप मधमध पनिपनि ।५।
second and the initial (tone) once, it is āvartaka⁸, e. g.
'sa-sa-ri-ri-sa-sa-ri-sa, ri-ri-ga-ga-ri-ri-ga-ri, ga-ga-ma-ma-ga-
ga-ma-ga, ma-ma-pa-pa-ma-ma-pa-ma pa-pa-dha-dha-pa-pa-
dha-pa, dha dha-ni-ni-dha-dha-ni-dha'. (58c-59b)
4. Sampradāna
When this⁹ very phrase is sung by dropping the last two
tones, then to the experts, the embellishment is known to be
sampradāna, e. g. 'sa-sa-ri-ri-sa-sa, ri-ri-ga-ga-ri-ri, ga-ga-ma-ma-
ga-ga ma-ma-pa-pa-ma-ma, pa-pa-dha-dha-pa-pa, dha-dha-ni
ni-dha-dha.' (59c-60b)
5. Vidhūta CFR PURANA P. 83
When a pair of two tones, taken alternatively¹⁰, is
employed twice and is followed by similar pairs of tones
commencing with the omitted¹¹ tone, then it is considered
8. Literally, a whirlpool.
9. The phrase of āvartaka, e. g. 'sa-sa-ri-ri-sa-sa-ri-sa.'
10 & 11. In the order of 1-3, 2-4, 3-5, 4-6, 5-7.

264 Treatment of Svara
6. उपलोलः
कलायामाद्ययोर्युग्मं चेत्तृतीयद्वितीययोः ॥६१॥
द्विर्द्विः प्रयुज्यते तज्ज्ञैरुपलोलस्तदोच्यते ।
सरिसरिगरिगरि रिगरिगमगमग गमगमपमपम
मपमपधपधप पधपधनिधनिध । ।६।
7. उल्लसितः
द्विर्गीत्वा ऽऽद्यं तृतीयं च प्रथमं च तृतीयकम् ॥६२॥
सकृद्गायेत्कलायां तमुल्लासितमूचिरे ।
ससगसग रिरिमरिम गगपगप ममधमध पपनिपनि । ।७।
इति प्रसिद्धालङ्कारास्त्रिषष्टिरुदिता मया ॥६३॥
अनन्तत्वात्तु ते शास्त्रे न सामस्त्येन कीर्तिताः ।
by the sages to be vidhūta, e. g. 'sa-ga-sa-ga, ri-ma-ri-ma,
ga-pa-ga-pa ma-dha-ma-

[Left Page]

अथ सप्तमं जातिप्रकरणम्
क. उपक्रमः
(i) शुद्धा जातयः
(क) सप्तशुद्धजातीनामुद्देशः
शुद्धाः स्युर्जातयः सप्त ताः षड्जादिस्वराभिधाः ।
षाड्ज्यार्षभी च गान्धारी मध्यमा पञ्चमी तथा ।।१।।
धैवत्यथ नैषादी,
Section 7
Jati-s (Melodic types)
A. Introductory : 1-28
(i) Śuddhā (primary) jāti-s : (1-3b)
(a) The seven śuddhā jāti-s—There are seven śuddhā¹
(primary) (jāti-s² (melodic types)) named after the notes ṣaḍja
etc.,³ viz. ṣāḍjī, ārṣabhī, gāndhārī, madhyamā, pañcamī, dhaivatī
and naiṣādī. (1-2a)
Now, as per the synopsis of the work, the author is going to deal
with the tonal structures used for actual singing. It seems that when
Bharata, whose tradition Śārṅgadeva generally follows, set out to
systematise the music of his times, he comprehended the prevalent
melodies into eighteen basic melodic types which he called jāti-s. The
word 'jāti' literally means a class, genus or an ethnic group implying
an attribute or a characteristic commonly shared by the constituent
members that also exhibit other individual features which distinguish
them from each other.
The word jāti as applied in the context of music has been defined
semantically in various ways by Mataṅga (as quoted by 'S') to begin

1. Literally, pure or unmodified.
2. Jāti in its general connotation signifies 'genus, class or type'.
3. The seven notes are meant.

[Right Page]

Section 7 : Jāti-s (Melodic types) 267
(ख) शुद्धतालक्षणम्
, शुद्धतालक्ष्म कथ्यते ।
यासां नामस्वरो न्यासो ऽपन्यासो ऽंशो ग्रहस्तथा ।।२।।
तारन्यासविहीनास्ताः पूर्णाः शुद्धाभिधा मताः ।
(b) The definition of śuddhatā : To define śuddhatā⁴, it
is stated that the jāti-s, which have their denominative⁵ note
as the final note⁶ (nyāsa), the semi-final note⁷ (apanyāsa), the
fundamental note⁸ (aṁśa) and the initial note⁹ (graha),
which do not have the final note in the high register and
which are complete¹⁰ are known as śuddhā jāti-s. (2b-3b)
with. Jāti-s are so called because they come into being by the collec-
tion of such factors as the śruti-s, svara-s and grāma-s, or they arise from
the initial note etc., or alternatively, that which gives rise to or induces
(in the listener) the enjoyment of a particular sentiment (i. e. rasa or
aesthetic delight) is called jāti. Alternatively, jāti-s are so called because
they are the cause of the entire phenomenon of rāga and so forth; or
otherwise, jāti-s denote the various classes (i. e. castes) of human beings
such as brāhmaṇa and so forth.
Kallinātha conjectures a few more derivations of the term jāti.
Jāti-s are so called because they are duly constituted out of the proper
combination of the two grāma-s; or, because they suggest a class name
such as the cow among the animals. The cowness is manifest in many
individual cows in a slightly modified form; and so is jāti inherent in
the rāga-s and their mixed and derived forms. Jāti, thus, comprehends
in its connotation certain characteristic features that are essentially
4. Śuddhatā is derived as an abstract noun from śuddha (pure)
and is here used to refer to the purity of the śuddhā jāti-s.
5. Nāmasvara, i. e. the denominative note is the one by which the
jāti is named.
6. Nyāsa or the final note is the one that forms the concluding
note of a melody.
7. Apanyāsa or the semifinal note is the concluding note of a section
(vidārī) of a melody. Accordingly, there can be more than
one semifinal note in a melody.
8. Aṁśa or the fundamental note is the most prominent note and
functions as the dominant as well as the tonic.
9. Graha or the initial note is that with which the song is com-
menced.
10. That is, having all the seven notes.

268 Treatment of Svara
common to a certain class or type of melodic structures called grāma-
rāga-s and such other derived or associated forms. Jāti-s may therefore
be understood as melodic types on the basis of which were developed
the other later melodic structures.
Jāti-s as melodic types are recognized to be eighteen, out of which
seven are called śuddha and eleven are known as saṁsargajā vikṛta. The
jāti-s that are named after the seven śuddha svara-s (standard notes) and
have one of these notes as their final note (nyāsa) after which they are
named, apart from a few other factors to be described shortly, are consi-
dered to be śuddha (pure) in the sense of being the primary and original
types from which the rest were thought to have been derived by modi-
fication, and were on this account called vikṛta (modified). (1-2a)
It may be observed that three important considerations determine
the śuddhatā of jāti-s (i. e. purity, originality or in other words, the r
being primary or otherwise), viz.
(i) that the note which determines their name (such as ṣaḍjī,
ārṣabhī, gāndhārī etc., being named after ṣaḍja, ṛṣabha, gāndhāra
etc. respectively) should function as their final, semifinal,
fundamental and the initial note.
(ii) that they have their final note in the low or the middle heptad
(saptaka), and
(iii) that they are complete, i. e. employing all the seven notes.
Kallinātha points out that since the use of the final note in the high
register is specifically prohibited it is to be inferred that it is ordained in
the low and the middle register despite the fact that Bharata has expli-
citly laid down that the rule that the final note in the śuddha jāti-s should
be in the low register. He argues that if Bharata's rule is taken literally,
the use of the middle ṣaḍja in case of ṣaḍjī ordained by Mataṅga would
be contradictory in practice. That is why, he seems to suggest, Śārṅga-
deva has prescribed a negative rule. (2b-3b)
(ii) विकृता जातयः
विकृता न्यासवर्जंतल्लक्ष्महीना भवन्त्वमॄः ॥३॥
सम्पूर्णत्वग्रहांशापन्यासेष्वेकाकवर्जनात् ।
भवन्ति भेदाश्चत्वारो द्वयोस्त्यागे तु षण्णताः ॥४॥
त्यागे त्रयाणां चत्वार एकस्यक्तं चतुष्टये ।
भेदाः पञ्चदशैवेते षाड्ज्याः सद्भिनिरूपिताः ॥५॥
Section 7 : Jāti-s (Melodic types) 269
तत्राष्टौ पूर्णताहीनाः सप्त त्वितरवजिताः ।
द्विधा स्युः पूर्णताहीनाः षाडवौडुवभेदतः ॥६॥
अतो ऽष्टावधिका आर्षभ्यादिष्वौडुवजातिषु ।
अतस्त्रयोविंशतिधा षट्सु प्रत्येकमीरिताः ॥७॥
(ii) Vikṛta (modified) jāti-s : (3c-7)
These (śuddha jāti-s) when devoid of their (above)
characteristics¹, excepting the rule for the final note, become
modified (vikṛtā).² (3cd)
By the omission of completeness, the initial note, the
fundamental note and the semi-final note, one by one, four
varieties³ are obtained⁴ ; and by dropping two (of them),
they⁵ are considered to be six. (4)
'These very primary jāti-s that have been characterised as having
their denominative note for the final, the semi-final, the fundamental
and the initial note, having all the seven notes and having their final
note in the low or the middle register, become modified (vikṛta jāti-s)
when they are deprived of these characteristics with the provision that
they retain their limitations with regard to the final note.
This is interpreted by the two commentators in two different
ways. 'K' seems to restrict the application of the exception with regard
to the final note, to the rule pertaining to the denominative note being
the final note. He is silent with respect to its employment in the middle
or the low register only. However, 'S' applies the exception to the latter
and not the former in which case he is silent. The two versions are
presented here in their own words as under :
Kallīnātha states that, of the five characteristics of the śuddhatā
of jāti-s (viz. that the denominative note is their final, semi-final,
fundamental and initial note and their completeness) leaving aside the
specification with regard to the final note the modified jāti-s are relieved

1. The characteristics of śuddhatā as already described.
2. Now, by what principle they are modified, is to be inferred
   from the description of the different varieties of modified
   forms of the śuddha-jāti-s that follows.
3. Of modified jāti-s
4. Lit. become.
5. That is, the varieties obtained.

Page 270

270 Treatment of Svara
By the omission of three⁶, four (varieties) and by
omitting four (of them) only one⁷ is (obtained). These
fifteen⁸ are the only varieties of ṣaḍjī demonstrated by the
noble ones. (5)
Of these⁹, eight are devoid of completeness and seven
are deprived of the other (factors)¹⁰. Those devoid of
completeness are twofold being distinguished as hexatonic
(ṣāḍava) and pentatonic (auḍuva). (6)
Thus there would be eight (varieties) more in the
pentatonic jāti-s such as ārṣabhī and others; and therefore,
these six¹¹ are known to have twenty-three varieties each. (7)
of the other (four) limitations. He explains this interpretation by saying
that accordingly, in case of the modified jāti-s the denominative note
will be the final note while other notes will be employed as semi-final,
fundamental and initial notes. Thus in this way the śuddhā jāti-s become
the modified jāti-s and not the associate modified (saṁsargajā-vikṛtā)
jāti-s. This arrangement, he says, helps to assign the particular modified
jāti-s to the corresponding śuddhā jāti-s since their final note serves as
the distinguishing mark.
'S' states that these śuddhā jāti-s deprived of the said characte-
ristic marks excepting the final note are modified. The absence of the
characteristic mark with regard to the final note implies (the non-appli-
cability of) the rule pertaining to the final note being in the registers
other than the higher one, for (he asserts) that is not necessary in the
case of modified forms, and he quotes Mataṅga in support of his view
who says, "In the śuddhā jāti-s the final denominative note is in the
lower register, but in the modifications this rule does not apply."
Accordingly, he conceives two forms of the primary jāti-s, viz. charac-
terised by śuddhatva (purity) and modification. However, he points out
that śuddhatva cannot be predicated of jāti-s such as ṣaḍja-kaiśikī,
obviously referring to the associate modified ones.
6. Three factors.
7. Variety.
8. 4+6+4+1=15.
9. Fifteen varieties.
10. Such as the initial note, the fundamental note and the semi-
final note.
11. That is, the six modified forms of the śuddhā jāti-s excluding
ṣaḍjī

Page 271

Section 7 : Jāti-s (Melodic types) 271
It is not only interesting but also instructive to consult Bharata
who seems to be the author of the concept of jāti-s and their classifica-
tion. He distinguishes jāti-s primarily into two classes, viz. those that
are named after their denominative note which he calls svara-jāti-s and
which can only be seven; and those eleven that are formed by the com-
bination of these svara-jāti-s in their modified forms, which he calls
saṁsargajā vikṛtā (combinations of modified jāti-s).
Furthermore, he informs that the svara-jāti-s are twofold, viz.
śuddhā (pure) and vikṛtā (modified). Śuddhā he defines as Śārṅgadeva
does (in substance) and vikṛtā, he says, are formed when the śuddhā jāti-s
are defiled with regard to one, two or more of their characteristics ex-
cepting the final note. The rule for the final note being in the lower
register, he further adds, does not apply to them (cf. N. S., G. O. S.
Vol. IV p. 37).
Thus Bharata explicitly states how the modification of jāti-s is
effected. Since Śārṅgadeva is not quite explicit in this regard, even
though his description of the modified forms implies the underlying
principle of modification, the ambiguity of his text, which is obviously
due to the brevity of his expression, can lead one to the interpretation
that the modified jāti-s are formed by depriving the śuddhā jāti-s of all
their characteristics excepting that of the final note. Indeed the expres-
sion etat-lakṣma-hīnā (devoid of the characteristics of śuddhatā) has been
interpreted as such by the commentators. But in any case it is helpful
to bear in mind that though only one form of modification of each of the
seven śuddhā-jāti-s will correspond to this interpretation which is in-
cluded among the various modifications detailed by the author subse-
quently, such seven modified forms have theoretically, if not practically,
to be conceived because of the fact that the saṁsargajā-vikṛtā (associate
modified) jāti-s are formed out of these.
Thus, we have svara-jāti-s classified as śuddhā and vikṛtā. The
vikṛtā are modified variously and manifest in two ways, viz. as the varie-
ties of śuddhā by the application of the above rule and by the combina-
tion of such modified varieties, the former being called 'modified (vikṛtā)
jāti-s' and the latter 'associate modified jāti-s' (saṁsargajā-vikṛtā). The
vikṛtā-s are considered to be the variations of śuddhā and are not there-
fore counted independently. (3 cd)
Now, the author describes the technique of forming different
varieties of the modified forms of śuddhā jāti-s such as ṣaḍjī and others.
It is obvious from this description that in all these cases the denomina-
tive note is understood to be the final note. We are thus left with four
variable factors by dropping which different varieties are obtained. If,

272 Treatment of Svara
for example, one of these four is ignored (in turn), we get four varieties,
viz. (i) lacking in respect of completeness, and in not having the denomi-
native note (ii) as the initial note, (iii) as the fundamental note, and
(iv) as the semifinal note. However, by the omission of one or more of
these factors, as pointed out by Kallinātha, what is intended is not the
absence of these but the violation of śuddhatā. The specific characteris-
tics of śuddha jāti-s involved here are the employment of the denomina-
tive note as the initial, the fundamental and the semifinal note and
completeness; what is implied by omission is not that the varieties of the
modified jāti-s can be formed without employing the factors such as
completeness, and so on, but that there will be loss of completeness, i.e.
less number of notes (five or six) will be employed and notes other than
the denominative ones will be employed as the initial, the fundamental
and the semifinal notes; for otherwise jāti-s cannot be formed at all.
Thus the term omission or its equivalents have a technical meaning.
Similarly, by dropping two factors six varieties are obtained,
e.g. ( i ) by dropping completeness and the initial note
( ii) by ,, ,, and the fundamental note
(iii) by ,, ,, and the semifinal note
(iv) by ,, the initial and the ,, ,,
( v) by ,, the fundamental and the ,, ,,
(vi) by ,, ,, ,, initial note
Similarly, by ignoring the observance of the definitive rule with
regard to three factors, four other varieties are obtained, e. g. by
dropping:
( i ) completeness, the initial and the fundamental notes
( ii) ,, ,, and the semifinal notes
(iii) ,, the fundamental and semi-final notes
(iv) the initial, the fundamental and the semifinal notes.
However, if all the four factors are omitted there will only be
one variety which will probably be the same as the modified form
defined in verse 3 ante. (4-5)
In the case of ṣāḍjī, fifteen varieties were obtained. Analysing
the process of their formation it is observed that eight of them were
formed due to the non-observance of the condition of completeness
(sampūrṇatva or pūrṇatva). While seven other varieties were obtained by
omitting the other factors, viz. the initial note, the fundamental note
and the semifinal note in the order already demonstrated. Now, the
author adds that the other factors being in their order, loss of complete-
ness is effected in two ways, viz. by the omission of one or of two notes

Section 7 : Jāti-s (Melodic types) 273
and thereby creating hexatonic or pentatonic jāti-s. This process leads
to the formation of eight more pentatonic varieties bringing the total to
twentythree (8+8+7 = 23). Since ṣāḍjī is a hexatonic jāti it has only
fifteen varieties, but all others beginning from ārṣabhī are hexatonic as
well as pentatonic and thus have twentythree varieties each. Thus we
have (15+23×6 = 153) one hundred and fiftythree varieties of modified
jāti-s in all. These are classified in the following table which has been
adopted with some modifications from Praṇava Bhāratī, p. 245. (6-7)
Modification of śuddha jāti-s

(Chart 28)
(iii) संसर्गजा विकृता जातयः
विकृतानां तु संसर्गाज्जाता एकादश स्मृताः ।
स्यात्षड्जकैशिको षड्जोदीच्यवा षड्जमध्यमा ॥१८॥
गान्धारोदीच्यवा रक्तगान्धारी कैशिकी तथा ।
मध्यमोदीच्यवा कार्मारवी गान्धारपञ्चमी ॥१९॥
तथा ऽन्ध्री नन्दयन्तीति,
तद्धेतूनधुना ब्रुवे ।
षाड्जीगान्धारिकायोगाज्जायते षड्जकैशिकी ॥२०॥
षाड्जिकामध्यमाभ्यां तु जायते षड्जमध्यमा ।
गान्धारीपञ्चमीभ्यां तु जाता गान्धारपञ्चमी ॥२१॥
18

274 Treatment of Svara
गान्धार्यार्षभिकाभ्यां तु जातिरान्ध्री प्रजायते ।
षाड्जी गान्धारिका तद्वद्वैवती मिलितास्तिस्रः ॥१२॥
षड्जोदीच्यवतीं जातिं कुर्युः, कार्मारवी पुनः ।
उत्पादयन्ति नैषादी पञ्चम्यार्षभिका युताः ॥१३॥
नन्दयन्तीं तु गान्धारीपञ्चम्यार्षभिका युताः ।
गान्धारी धैवती षाड्जी मध्यमेति युतास्तिस्रः ॥१४॥
गान्धारोदीच्यवां कुर्युर्मध्यमोदीच्यवां पुनः ।
एता एव विना षाड्ज्या पञ्चम्या सह कुर्वते ॥१५॥
कुर्युस्ता रक्तगान्धारीं नैषादी च न धैवती ।
आर्षभीं धैवतीं त्यक्त्वा पञ्चभ्यः कैशिको भवेत् ॥१६॥
(iii) Saṁsargajā-vikṛtā (associate modified) jāti-s : (8-16)
The formations arising out of the association of the modifications are accepted¹ to be eleven. (8ab)
They are ṣaḍja-kaiśikī, ṣaḍjodīcyavā, ṣaḍja-madhyamā, gān-
dhārodīcyavā, raktagāndhārī, kaiśikī, madhyamodīcyavā, kārmāravī,
gāndhāra-pañcamī, āndhrī and nandayantī. Now I shall describe
their origins². (8c-10b)
Ṣaḍja-kaiśikī is formed³ by the combination of ṣaḍjī and
gāndhārī, ṣaḍjamadhyamā arises from ṣaḍjī and madhyamā,
gāndhārapañcamī is brought forth by gāndhārī and pañcamī, āndhrī
is born from gāndhārī and ārṣabhī; ṣaḍjī, gāndhārī and dhaivatī
jointly cause ṣaḍjodīcyavā jāti; again naiṣādī, pañcamī and ārṣa-
From the combination of the modifications of the śuddha jāti-s,
i. e., by the association of their modified forms come into being eleven
(and not more) formations called associate modified (saṁsargajā vikṛtā)

1. Literally, "as known from the tradition" (as known to collec-
   tive memory).
2. Lit. 'causes'.
3. Lit. 'is born'.
   Section 7 : Jāti-s (Melodic types) 275
   bhī together produce kārmāravī, while nandayantī is the com-
   bination of gāndhārī, pañcamī and ārṣabhī; gāndhārī, dhaivatī,
   ṣaḍjī and madhyamā all these associated together create gāndhā-
   rodīcyavā; these⁴ very (jāti-s) with pañcamī in the place of
   ṣaḍjī give rise to madhyamodīcyavā, and these⁵ with naiṣādī in
   the place of dhaivatī create rakta-gāndhārī. Kaiśikī is formed by
   five⁶, i. e. leaving aside ārṣabhī and dhaivatī. (10c-16)
   jāti-s. The text, since it is not explicitly worded, is open to a slightly
   different interpretation which would read : "Eleven (forms) are known to
   be produced by the association (i. e. combination) of the modified
   jāti-s.'s And by "modified jāti-s" are implied, according to this inter-
   pretation, the varieties of the modified forms of the śuddhā jāti-s. (8ab)
   (iv) जातीनां ग्रामविभागः
   चतस्रः षड्जशब्दिन्द्यो नैषादी धैवती तथा ।
   आर्षभी चेति सप्तेताः षड्जग्रामस्य जातयः ॥१७॥
   शेषाः स्युर्मध्यमग्रामे,
   (iv) The grāma-wise distribution of jāti-s : (17-18a)
   The four¹ having the word ṣaḍja (in their name), as
   also naiṣādī, dhaivatī and ārṣabhī---these seven jāti-s pertain to
   the ṣaḍja-grāma and the rest of them² belong to the madhyama-
   grāma. (17-18a)
   Now, the author is here relating the grāma-wise distribution of the
   eighteen jāti-s which is portrayed in the following chart along with the
   details of their combination :
4. i. e., gāndhārī, dhaivatī, madhyamā and pañcamī.
5. i. e., gāndhārī, naiṣādī, madhyamā and pañcamī
6. i. e., ṣaḍjī, gāndhārī, madhyamā, pañcamī and naiṣādī.
7. Out of eighteen, seven belong to the ṣaḍjagrāma.
8. The remaining eleven.

276 Treatment of Svara
Grāma-wise distribution and combination of jāti-s

278 Treatment of Svara
(vi) जातिषु स्वरसाधारणनियमः
पञ्चमोमध्यमाषड्जमध्यमाऽऽख्यासु जातिषु ।
स्वरसाधारणं प्रोक्तं मुनिभिर्भरतादिभिः ॥२१॥
अंशेषु समपेष्वेवतद्यथास्वनियमाद्भवेत् ।
एतदल्पनिगास्वाहुः कम्बलाश्वतरादयः ॥२२॥
अल्पद्विश्रुतिके रागभाषाऽऽदावपि तन्मतम् ।
निगयोरंशयोः षड्जमध्यमायां न तद्भवेत् ॥२३॥
विकृता एव तत्रापि स्वरसाधारणाश्रयाः ।
(vi) The rule pertaining to the overlapping of notes in certain
jāti-s : 21-24b
Overlapping of notes¹ has been mentioned by sage
Bharata and others in relation to jāti-s² called pañcamī,
madhyamā and ṣaḍjamadhyamā. (21)
It³ should accordingly be (applied) in relation to sa,
ma and pa (employed) as fundamental notes as per their
respective rule⁴ in the jāti-s having weak (alpa) ni and ga, as
declared by Kambala, Aśvatara and others. (22)
Overlapping of notes has been dealt with in Section 5 ante.
Briefly it implies, in this context, the use of antara-gāndhāra and kākalī-
niṣāda in some jāti-s and rāga-s, bhāṣā-s, etc. that have weak ni and ga
and have sa, ma or pa as their fundamental notes. There are three,
pañcamī, madhyamā and ṣaḍja-madhyamā. The overlapping of notes in
these jāti-s is recommended by Bharata, Kambala and Aśvatara, and
is to be introduced with reference to their fundamental notes sa, ma and
pa according to the rules laid down in each case in Section 5 (verse 4-7)
ante. 'S' elucidates this point, "overlapping of notes is to be applied in
case of the fundamental notes sa, ma and pa as per the rule. How ?, so
that the respective note-positions are not transgressed. In case of ṣaḍja
being the fundamental note, it is the overlapping of ṣaḍja, and when

1. Svara-sādhāraṇa.
2. The jāti-s related to the overlapping notes are three in number.
3. It refers to the overlapping of notes.
4. Cf. S. R. I. 5 4-6.
   This is also true of the rāga, bhāṣā and other forma-
   tions⁵ with weak ni and ga⁶; but however, it is not appli-
   cable to ni and ga when (used) as the fundamental notes of
   ṣaḍjamadhyamā. Even so, only the modified jāti-s (can) take
   resort to the overlapping of notes (23a-24b).
   madhyama and pañcama are the fundamental notes then it is the over-
   lapping of madhyama that takes place." In this context Thakur Onkar-
   nath has made interesting observations with regard to the question of
   pañcama and its technical accuracy in being named as madhyama sādha-
   raṇa, i. e. the overlapping of madhyama. It is also observed by him that
   the justification for sa, ma and pa being the only notes which, when used
   as fundamental notes, provide for the overlapping of notes in the three
   jāti-s lies in the fact that, they are placed at a distance of four śruti-s
   from their preceding notes; and it is the interval of four śruti-s that is
   the minimum required for the process (cf. Praṇava Bhāratī, p 254).
   Ṣaḍja-madhyamā has all the seven notes for its fundamental note and
   therefore the author makes a specific exception to the effect that the
   overlapping of notes cannot take place in it in case ga and ni are em-
   ployed as the fundamental notes. This is in accordance with the rule
   that antara-gāndhāra and kākalī-niṣāda cannot become fundamental notes
   because of being modified (vide N. S., G. O. S. Vol. IV, p. 32).
   (vii) जातिगतांशस्वरगणना
   एकांशा नन्दयन्ती च मध्यमोदीच्यवा तथा ॥२४॥
   गान्धारपञ्चमीत्येतास्तिस्रो द्वयंशास्तु धैवती ।
   गान्धारोदीच्यवा चाथ पञ्चमीत्युदिता इमाः ॥२५॥
   नैषाद्यार्षभिकाषड्जकैशिक्यस्त्र्यंशिका मताः ।
   आन्ध्रीकामार्षभीषड्जोदीच्यवाश्चतुरंशिकाः ॥२६॥
   पञ्चांशा रक्तगान्धारी गान्धारी मध्यमा तथा ।
   षाड्जीत्येताश्चतस्रः स्युः षडंशैकैव कैशिकी ॥२७॥
   सप्तांशा सूरिभिः षड्जमध्यमा परिकीर्तिता ।
   इति त्रिषष्टिरंशाः स्युर्जातिष्वष्टादशस्वपि ॥२८॥
5. According to 'K' rāga includes grāma-rāga-s, uparāga-s and
   rāgas-s; while bhāṣā includes vibhāṣā-s and antara-bhāṣā-s as
   well, and 'other formations' refer to ragāṅga-s, kriyāṅga-s and
   upāṅga-s.
6. Literally, notes having two śruti-s.

280 Treatment of Svara
(vii) The number of fundamental notes in different jāti-s :
24c-28
The three (jāti-s) nandayantī, madhyamodīcyavā and
gāndhārapañcamī have one fundamental note; dhaivatī, gāndhā-
rodīcyavā and pañcamī are said to be having two fundamental
notes; naiṣādī, ārṣabhī and ṣaḍja-kaiśikī are considered as
having three fundamental notes; āndhrī, kārmāravī and ṣaḍjo-
dīcyavā have four fundamental notes; the four, rakta gāndhārī,
gāndhārī, madhyamā and ṣaḍjī have five fundamental notes;
kaiśikī is the only one having six fundamental notes, while
ṣaḍja-madhyamā, as declared by the sages, has seven funda-
mental notes; thus, among these eighteen jāti-s there are
sixty-three fundamental notes. (24c-28).
The notes that are capable of being used as the fundamental notes
in the different jāti-s in consonance with the above scheme are indicated
by 'K' as follows :
The fundamental notes of jāti-s
S. No. Name of jāti | No. of fundamental notes | The fundamental notes

1. Nandayantī | 1 | pa
2. Madhyamodīcyavā | 1 | pa
3. Gāndhāra-pañcamī | 1 | pa
4. Dhaivatī | 2 | ri, dha
5. Gāndhārodīcyavā | 2 | sa, ma
6. Pañcamī | 2 | ri, pa
7. Naiṣādī | 3 | ni, ri, ga
8. Ārṣabhī | 3 | ri, ni, dha
9. Ṣaḍjakaiśikī | 3 | sa, ga, pa
10. Āndhrī | 4 | ri, ga, pa, ni
11. Kārmāravī | 4 | ri, pa, dha, ni
12. Ṣaḍjodīcyavā | 4 | sa, ma, dha, ni
13. Rakta-gāndhārī | 5 | sa, ga, ma, pa, ni
14. Gāndhārī | 5 | sa, ga, ma, pa, ni
15. Madhyamā | 5 | sa, ri, ma, pa, dha
16. Ṣaḍjī | 5 | sa, ga, ma, pa, dha
17. Kaiśikī | 6 | sa, ga, ma, pa, dha, ni
18. Ṣaḍjamadhyamā | 7 | sa, ri, ga, ma, pa, dha, ni
    Total 63
    (Chart 31)
    Section 7 . Jātis (Catalogue of...)
    The total number of fundamental notes in these eighteen jāti-s
    is sixty-three; but this is so only if complete jāti-s are taken into account.
    'S', quoting Mataṅga, points out that in the hexatonic jāti-s the number
    of fundamental notes is reduced to forty-seven. Explaining the loss of
    sixteen in the process he says that, nine fundamental notes are account-
    ed for by the four jāti-s that are always complete, viz. kārmāravī (4);
    gāndhāra-pañcamī (1), ṣaḍjakaiśikī (3) and madhyamodīcyavā (1) and seven
    belong to ṣaḍja-madhyama, ṣaḍjī, ṣaḍjodīcyavā, kaiśikī and raktagāndhārī
    which are considered to be exceptions to this process. These exceptions
    are mentioned by Bharata : "The ṣaḍja-madhyā should have no hexatonic
    treatment including niṣāda (lit. the seventh), and there should be no
    gāndhāra there, because of an elimination of its consonant note; and the
    gāndhārī, the rakta-gāndhārī and the kaiśikī should have no pañcama, and
    the ṣaḍjī should have no gāndhāra, and the ṣaḍjodīcyavā no dhaivata in
    their hexatonic treatment. These seven (notes) are to be discarded in
    connexion with the hexatonic treatment of the jāti-s named, because of
    the elimination of their consonant notes (N. S., XXVIII. 65-69, Eng.
    Trans. by M. Ghosh, Vol. II, p. 18).
    Similarly, in the hexatonic jāti-s there are only thirty fundamental
    notes. That is, out of the remaining fortyseven, twelve are dropped in
    this process because they belong to jāti-s that are always complete and
    hexatonic, viz. ṣaḍjī (5), nandayantī (1), āndhrī (4) and gāndhārodīcyavā
    (2); and five more are left out by way of exception. And he ('S')
    quotes the following verse of Bharata in support of this statement : "The
    pentatonic treatment relates to five notes (in a grāma) and is known as
    being of ten kinds. Its subdivisions are thirty and have been mentioned
    before (N. S. XXVIII 98, Eng. Trans. by M. Ghosh, Vol. II, p. 23).
    ख. जातीनां त्रयोदश-सामान्यलक्षणानि
    ग्रहांशतारमन्द्राश्च न्यासापन्यासकौ तथा ।
    अपि संन्यासविन्यासौ बहुत्वं चाल्पता ततः ॥२९॥
    एतान्यन्तरमार्गेण सह लक्षणानि जातिषु ।
    षाडवोडुविते क्वापीत्येवमाहुस्त्रयोदश ॥३०॥
    B. Thirteen factors characterising jāti-s : 29-57b
    Thirteen characteristic features are spoken of jātis, viz.
    the initial note, the fundamental note, the high (pitch range)
    the low (pitch range), the final note, the semifinal note,

Left Page

Treatment of Svara
saṁnyāsa¹, vinyāsa², profusion, rareness, antaramārga³ and the
hexatonic and the pentatonic (treatment) in some.⁴ (29-30)
Bharata and Mataṅga have spoken of only ten characteristic
features of jāti-s discounting saṁnyāsa, vinyāsa and antaramārga, distinctly
enunciated by Śārṅgadeva. 'K' points out that since saṁnyāsa and
vinyāsa refer to particular sections (vidārī-s) of compositions, they are
essentially covered by the semifinal note in the older scheme. Similarly,
antaramārga being dependent upon the mutual relationship of the funda-
mental note and the other factors, is not separately indicated there.
However, he justifies an explicit and definite mention of saṁnyāsa and
vinyāsa apart from the other ten features on the ground that they form
separate parts of the composition. Similarly, he says that since antara-
mārga has a distinct function without which the melody cannot proceed,
it deserves to be considered as an essential and distinct feature. The
technical terms involved here will presently be defined and explained
by the author.

1. ग्रह
   गीतादिनिहितस्तत्र स्वरो ग्रह इतीरितः ।
   तत्रांशग्रहयोरन्यतरोक्तावुभयग्रहः ॥३१॥
2. The initial note (graha) : (31)
   Of these¹, the note that is placed in the very com-
   mencement of the melody² is known as graha (the initial
   note). Where either of the two, the initial or the funda-
   mental note is mentioned, both are (thereby) compre-
   hended. (31)
   Now, the author goes on to define each of the thirteen charac-
   teristic features essentially found to constitute jāti-s. Of these, the
   initial note (graha) is defined as the note with which a melody is
   1-3. Saṁnyāsa, vinyāsa and antaramārga have not been rendered into
   English, firstly because these concepts are hardly used by the
   author in the individual description of the jāti-s and secondly,
   because it is not considered to be as advantageous as it is
   difficult. These terms are defined by the author subsequently.
3. That is, leaving aside the jāti-s that are always complete such
   as kārmāravī and so on.
4. The thirteen characteristic features.
5. Lit. a song or in this context jāti.

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Section 7 : Jāti-s (Melodic types) 263
commenced. It is said that, practically the initial note is the same as
the fundamental note (aṁśa) in all jāti s; and therefore the two terms are
interchangeable. So, of these two where only one is mentioned, the
other is invariably implied to be the same, and to be mentioned thereby.
If, only the fundamental note is mentioned, that itself is to be taken as
the initial note, and vice versa. Since the fundamental notes are sixty-
three, the initial notes too are sixtythree. Does it mean that there is no
difference between the initial and the fundamental note ? The difference
between the two is functional; whereas the fundamental note, as pointed
out by 'S', functions merely as sonant (vādī), the initial note is fourfold.
And moreover, being the originator of rāga, the fundamental note is
of primary importance, whereas the initial note is of a secondary
importance. This difference, theoretical as it is, will be further discerned
from the definition of the fundamental note.
Graha is literally and semantically defined as the note that takes
hold of the song or by which the song is initiated (lit. held).
2. अंशः
यो रक्तिव्यञ्जको गेये यत्संवाद्यनुवादिनौ ।
विदार्यां बहुलौ यस्मात्तारमन्द्रव्यवस्थितिः ॥३२॥
यः स्वयं यस्य संवादी चानुवादी स्वरो ऽपरः ।
न्यासापन्यासविन्याससंन्यासग्रहतां गतः ॥३३॥
प्रयोगे बहुलः स स्याद्ग्राह्योंऽशो योग्यतावशात् ।
बहुलत्वं प्रयोगेषु व्यापकं त्वंशलक्षणम् ॥३४॥
2. The fundamental note (aṁśa) : (32-34)
The note that is expressive of delightfulness in a
melody¹ and the consonants and assonants of which are
profuse in a sub-section (of the composition)², that which
determines the position of the higher and the lower pitch

1. Geya lit. means 'worthy of singing' or, in other words, 'vocal
   composition' which in this system also speaks for the instru-
   mental music.
2. Vidārī is defined as gīta-khaṇḍa, i. e. a sub-section of a melody.
   As 'S' elucidates, "vidārī is that which divides either the
   tonal content or the verbal content of a melody and is thereby
   twofold, viz. gīta-vidārī, i. e. a melodic divisor or a pada-vidārī,
   i. e. a verbal divisor." (S. R. I, p. 183).

284 Treatment of Svara
range³, that which is its own consonant but which has
another note as assonant, that which is capable of being the
final note, the semifinal note, vinyāsa, saṁnyāsa and the initial
note, that which is frequently employed in practice, and is
the sonant (vādī) becomes the fundamental note (aṁśa)
because of its efficiency⁴. However, in performance (prayoga),
profusion⁵ (bahulatvam) is the (most) comprehensive charac-
teristic mark of the fundamental note. (32-34)
The word aṁśa literally means a constituent part and ‘S’
conjectures a semantic derivation saying that aṁśa is that which divides
the jāti-rāga-s. Perhaps this is relevant to that function of the funda-
mental note in accordance with which the higher and the lower pitch
range of a jāti is determined with reference to it.
It has been specified that the fundamental note is expressive of
delightfulness in a musical composition. ‘K’ points out that in so far
as the fundamental note is delightful as every other note (svara) intrin-
sically is, it is not different from the rest of them; therefore the signi-
ficance of this attribute lies in the fact that the fundamental note is not
only delightful by itself like every other note but is expressive of the
delight inherent in the mutual relation of notes in the musical compo-
sition as a whole. This is analogous to the beauty of the meaning
implied by the words in their mutual relationship in a sentence as a
whole, apart and different from their individual literal meaning.
Another important function of the fundamental note, as already
referred to, is to determine the range of the higher and the lower
registers which will be further defined presently in a short while by the
author. The terms saṁvādī (consonant) and anuvādī (assonant) have
already been defined by the author in Section 3.
The other distinguishing features of the fundamental note indicated
include the fact that it is capable of being its own consonant at times,
as elucidated by ‘K’. This may be observed in contra-distinction to
the assonant which is necessarily to be a different note, i. e. other than

3. Tāra and mandra lit, high and low, in this context signify the
   two extremes of pitch range in which a jāti is composed.
4. Yogyatā (efficiency) is explained by ‘K’ as ‘potency to delight’,
   brought into being conjointly by the characteristic features
   attributed to the fundamental note as enumerated in the text
   (S. R. I, p. 182).
5. Bahulatvam or Bahutvam signifies frequent recurrence.
   Section 7 : Jāti-s (Melodic types) 285
   the fundamental note. And ‘K’ explains these two relations on the
   analogy of a king who sometimes may perform the functions of a
   minister but never of a servant. Śārṅgadeva's statement that occasion-
   ally the fundamental note is capable of functioning as its own consonant
   is notable in view of the general principle of Bharata that the consonant
   of the fundamental cannot be omitted. It is an indirect pointer to the
   existence of melodic structures in Śārṅgadeva's times that did not
   probably employ the consonants of the fundamental note at all, as
   can be observed in some of the current rāga-s of Hindustani music.
   As Bṛhaspati aptly remarks that “Rāga-s like māravā, pūriyā, gujarī and
   sohanī do not belong to the mūrcchanā system and therefore their funda-
   mental note is said to be its own consonant.” And to support his
   contention he pointedly cites Śārṅgadeva's definition of aṁśa (funda-
   mental note) in this respect as a proof (cf. S. Chintāmaṇi, p. 127).
   The capacity of the fundamental note to function as the final
   and the semifinal note, the saṁnyāsa and vinyāsa accounts for its
   profusion. It is interesting to observe how Bharata defines it :
   “The aṁśa (is that note in the song) on which its charm (rāga)
   depends, and from which the charm proceeds, is the basis of the
   variation into low (mandra) and high (tāra) pitches depending on the
   (first) five notes (pañcasvarāpara) and in the combination of many notes
   it is perceived prominently (atyartham); and moreover other strong
   notes may be to it in relation of consonance and assonance, and it is
   related to graha, apanyāsa, vinyāsa, saṁnyāsa and nyāsa (notes) and it lies
   scattered throughout the song.” (N. S. XXVIII 76-78; Eng. Tr. by
   M. Ghosh, vol. II pp. 19, 20).
   Obviously the definition of Śārṅgadeva is polished and more
   precise in describing the various functions of the fundamental note.
   Dattila relates the higher pitch range (tāra) as five notes rising up from
   the fundamental note (cf. Dattilam, 57). This subject is, however,
   presently being dealt with by our author.
   ३. तारः
   मध्यमे सप्तके ऽंशः स्यात्तस्मात्तारस्थितात्परान् ।
   स्वरांश्चतुर आरोहेदेष तारावधिः परः ॥३५॥
   अर्वाक्तु कामचारः स्यात्तारे लुप्तो ऽपि गण्यते ।
   आतारषड्जमारोहो नन्दयन्त्यां प्रकीर्तितः ॥३६॥

286 Treatment of Svara
3. The higher pitch range (tāra) : (35-36)
The fundamental note is (placed) in the middle
heptad¹, and from there² in the upper heptad, (one) may
ascend upto four notes: this is the maximum limit for the
higher pitch range; below that however, the movement is at
discretion. In relation to the higher pitch range, the elimi-
nated note too is taken into account.³ In nandayantī the
ascending movement is said to be upto the upper ṣaḍja.
(35-36).
'K' elucidates that by the middle heptad, the seven notes
of the middle register are indicated. The procedure for regu-
lating the ascending movement with reference to the maximum
pitch of the higher pitch-range is such that the fundamental note has
to be in the middle register and one can ascend upto four notes from it
in the upper register, i. e. four notes beyond the high (tāra) madhyama in
the madhyama-grāma and beyond the high ṣaḍja in the ṣaḍja-grāma. For
example, as interpreted by 'K', ṣaḍja being the fundamental note in
the middle heptad of the ṣaḍja-grāma, its last limit for the higher pitch
range will be four notes beyond the high ṣaḍja excluding it, viz. the high
pañcama; but in the case of the middle madhyama being the fundamental
note in the madhyama-grāma, its notes beyond the high madhyama will be
up to niṣāda and not beyond it, i. e. four notes to be counted in this
case include madhyama, the starting note. This is so because in madhyama-
grāma one cannot possibly go beyond the high register (as per the
text), and in ṣaḍja-grāma even though beyond high pañcama we have
high dhaivata and niṣāda, it will not be conducive to aesthetic delight to
take resort to them in practice, even though one may be able to do so.
But, however, Bharata has permitted the higher pitch range to be
extended upto five or even seven notes beyond the fundamental note in
the high register:
"The high pitch movement (tāragati) depending on the first five
notes, e. g. the raising of the pitch from any of the aṁśa (notes) should

1. Saptaka comprehends seven notes of the scale and is analogous
   to the Western concept of the octave, but in order to distin-
   guish it with respect to the number of notes it has been called
   'heptad'.
2. That is, the position of the fundamental note in the high
   register.
3. In other words, it is counted as constituting the No. 4 despite
   the fact of its elimination, for the purposes of determining the
   higher pitch range in a jāti.
   Section 7 : Jāti-s (Melodic types) 287
   be upto the note fourth from it, or it may be to the fifth note even,⁴
   but not to any beyond it." (N. S. XXVIII 93-94; Eng. Trans. M. Ghosh
   Vol. II. p. 21)
   It is notable that whereas Bharata provides for the ascending
   movement to take place from any of the fundamental notes of a jāti
   Kallinātha, in his interpretation of Śārṅgadeva, specifies ṣaḍja and
   madhyama only in ṣaḍja-grāma and madhyama-grāma respectively. Obviously
   he is taking ṣaḍja and madhyama as the standard notes for ṣaḍja and
   madhyama-grāma for the purpose of illustrating the maximum pitch
   range.
   It has already been mentioned that Dattila prescribes the limit of
   five notes beyond the fundamental note in the high register. It is
   obvious, however that even the scope of seven notes allowed by Bharata
   is not to be availed in every case.
   In nandayantī which is a jāti of the madhyama-grāma and has pañcama
   as its fundamental note, the ascending movement is limited to the high
   ṣaḍja, for according to Bharata (as quoted by 'K' vide S. R. Vol. I,
   p. 185 Adyar Ed.), in nandayantī the ascending movement must never
   transcend the high ṣaḍja." The practical implication of this provision is
   that whereas by the general rule the maximum high range of nandayantī
   with pañcama for its fundamental note ought to be four notes beyond
   pañcama, i. e. upto ṛi, Bharata has ordained it to be ṣaḍja² as an excep-
   tion. In other words, in the case of nandayantī one can ascend only
   three and not four notes beyond the fundamental note.
4. मन्द्रः
   मध्यस्थानस्थितादंशादामन्द्रस्थांशमाव्रजेत् ।
   आमन्द्रन्यासमथवा तदधःस्थरिधावपि ॥३७॥
   एषा मन्द्रगतेः सीमा ततोऽर्वाक्कामचारिता ।
5. The lower pitch range (mandra) : (37-38b)
   From the fundamental note (placed) in the middle
   register one may descend¹ upto the fundamental note in the
   lower register; or alternatively, upto the lower final note²
6. The original Sanskrit text of Bharata also provides for the
   extent of the seventh note as well as an option, but that seems
   to have escaped the English version quoted above.
7. Lit. 'may go to' or move.
8. That is the final note placed in the lower register.