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

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,

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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.

288 Treatment of Svara
(nyās) or even upto ri and dha below that. Such being the
ultimate limitations of the descending movement, discretion
operates within them. (37-38b)
It seems, as observed by Kallinatha, that the starting point in the
jāti-s was the middle fundamental (note). The range of pitch in the
lower register is, as a general rule fixed as from the middle fundamental
(note) to the lower fundamental (note); or alternatively upto the final
(note) of the lower register. Here, 'K' interprets 'nyāsa' (the final) to be
the last note of the grāma, i. e. ni for the ṣaḍja-grāma and ga for the
madhyama-grāma, and not as the concluding note of a song. As an excep-
tion as it were, it is laid down that in certain cases the descending
movement may be carried upto the immediately preceding notes in the
two grāma-s, viz. ri and dha. Kallinatha takes this option to be an
alternative to the second rule and accordingly interprets nyāsa in the
above sense. However, it will be worth-while to refer to Bharata
who says :
"The low pitch movement is threefold as it is determined by the
fundamental note, the final note or the semifinal note. There is lower
(pitch) beyond the fundamental (note). In the case of conclusion both
(the final and the semifinal notes) are accepted to be in order. However,
in the event of gāndhāra being the final note, ṛṣabha has been observed
(to be the last limit)." (Quoted by Kallinatha in his commentary,
S. R. Adyar, Vol. I, p. 186).
This shows that the provision of ri and dha made by Śārṅgadeva
cannot appropriately be taken as an (independent) alternative to the
second (viz. regarding the final note) but it is given by way of an
exception to it. Consequently, Kallinatha's interpretation of 'api' of
the text in the sense of 'alternative' is rather far-fetched. In this regard
it is better to take a view that corresponds to Bharata's statement which
has no such implications.
Bṛhaspati, who takes the last provision (viz. regarding ri and dha)
to be an exception to the rule pertaining to the fundamental, the final
or semifinal note in the lower register marking the limit for the descend-
ing movement, illustrates his interpretation with reference to nandayantī
jāti which belongs to the madhyama-grāma and has gāndhāra for its
final note. But as an exception the descending movement in this case
is found to be touching ṛṣabha. (cf. Bharatakośa Saṅgīta Siddhānta
pp. 81, 82).
Section 7 : Jāti-s (Melodic types) 289
5. न्यासः
गीते समाप्तिकृन्न्यास एकविंशतिधा च सः ॥३८॥
षाड्ज्यादीनां तु सप्तानां न्यासः स्यान्नामकृत्स्वरः ।
द्वौ नामकारिणौ षड्जमध्यमायां तु तौ मतौ ॥३९॥
उदीच्यवात्रयं मान्तं निपगान्ता तु कैशिकी ।
कार्मारी पञ्चमान्ता गान्ताः पञ्चापराः स्मृताः ॥४०॥
5. The final note : (38c-40)
The note with which a musical composition¹ is con-
cluded is the final (nyāsa)² note; and that is in twenty-one
(forms). (38 cd).
Of the seven (śuddhā) jāti-s such as ṣāḍjī and so on,
their denominative note is their final (note). In Ṣaḍja-
madhyamā the two notes designating it are considered to be
The following chart indicates the final notes of the jāti-s as des-
cribed in the text.
The final notes of the jāti-s.

1. Gīta is interpreted by 'K' as "in the application or practice
   of jāti-s", i. e. in singing 'jāti-s. As already indicated, the
   term geya literally refers to vocal melody but includes instru-
   mental compositions as well.
2. Nyāsa, as explained by 'K' is not merely the final note; it is
   a note that brings the song to such a conclusion that leaves
   no anticipation in listening. The word literally means 'that
   by which one gives up, or by which one is relieved.'
   19

Page 290

290 Treatment of Svara
its final notes. The triad of udīcyavā³ ends with ma, while
Kaiśikī has ni, pa and ga for its finals. Kārmāravī ends with
pañcama and the remaining five⁴ are known to be ending
with ga. (39-40)
It will be observed that of these eighteen jāti-s ṣaḍja-madhyama
has two, kaiśikī has three and the rest of the sixteen have one final note
each, making a total of twentyone.
6. अपन्यासः
अपन्यासस्वरः स स्याद्यो विदारीसमापकः ।
कार्मारव्यां च नैषाद्यामान्ध्रीमध्यमयोस्तथा ॥४१॥
आर्षभ्यां च स्वरा ये ऽंशास्ते ऽपन्यासाः प्रकीर्तिताः ।
उदीच्यवानां त्रितये ऽपन्यासो षड्जधैवतौ ॥४२॥
मध्यमो रक्तगान्धार्यां गान्धार्यां षड्जपञ्चमौ ।
सनिपाः षड्जकैशिक्यां पञ्चम्यां निरिपाः स्मृताः ॥४३॥
रिपौ गान्धारपञ्चम्यां षाड्ज्यां गान्धारपञ्चमौ ।
धैवत्यां रिमधाः प्रोक्ता नन्दयन्त्यां मपौ मतौ ॥४४॥
रिवर्ज्याः षट् च कैशिक्यां सप्तापीत्यूचिरे परे ।
सप्तस्वरापन्यासां तु भाषन्ते षड्जमध्यमाम् ॥४५॥
अत्र येऽंशा अपन्यासास्ते स्युरेकोनविंशतिः ।
सप्तत्रिंशत्परे ते च षट्पञ्चाशत्तु संयुताः ॥४६॥
कैशिक्यां सप्तपक्षे तान्सप्तपञ्चाशतं विदुः ।
6. The semifinal note (apanyāsa): (41-47b)
The note that concludes a sub-section¹ of a musical
composition is the semifinal note. (41ab)
3 The three udīcyavā-s are ṣaḍjodīcyavā, madhyamodīcyavā, and
gāndhārodīcyavā.
4. The remaining five are ṣaḍja-kaiśikī, rakta-gāndhārī, gāndhāra-
pañcamī, āndhrī and nandayantī.

1. Vidārī literally means that which divides the composition and
   therefore is translated as 'sub-section' to distinguish it from
   'section' (dhātu) and part (aṅga) used in Chap. IV (Also see
   note 2 to verses 32-34 ante).

Page 291

Section 7 : Jāti-s (Melodic types) 291
In kārmāravī, naiṣādī, āndhrī, madhyamā and ārṣabhī the
notes that are the fundamental notes, are known to be the
semifinal notes (apanyāsa). In the triad of udīcyavā, ṣaḍja and
dhaivata are the semifinal notes; madhyama is² in the rakta-
gāndhārī, ṣaḍja and pañcama are³ in gāndhārī, sa, ni and pa in⁴
ṣaḍja-kaiśikī, and ni, ri and pa are known to be in⁵ pañcamī.
Ri and pa in⁶ gāndhāra-pañcamī, gāndhāra and pañcama in⁷ ṣāḍjī
and ri, ma and dha are⁸ to be in dhaivatī, (and) ma and pa are
accepted in nandayantī. Leaving aside ri, the (remaining)
six⁹ (notes) are in kaiśikī, while even seven are told¹⁰ by
The semifinal note according to 'S' marks the completion of sub-
sections in a composition and in the words of Mataṅga (quoted by him),
it presents the appearance of the conclusion of the composition.
The following chart indicates the semifinal notes of the eighteen
jāti-s as described in the text.
The semifinal notes of jāti-s

Page 292

292 Treatment of Svara
some. Ṣaḍja-madhyamā is said to be having seven notes as its
semifinal notes. (40-45).
In this context, the semi-final notes that are (identical
with) the fundamental notes¹¹ are nineteen¹², others are
thirtyseven, and when put together they are fiftysix. In the
event of seven being (counted) in kaiśikī, they¹³ are known
to be fiftyseven in all (46-47b).
7. संन्यासः
अंशाविवादी गीतस्याद्यविदारोसमाप्तिकृत् ॥४७॥
संन्यासो ऽशाविवाद्येव
8. विन्यासः
, विन्यासः स तु कथ्यते ।
यो विदारीभागरूपपदप्रान्ते ऽवतिष्ठते ॥४८॥
7. Saṁnyāsa : (47c-48a)
Saṁnyāsa is the concluding note of the first sub-section¹
of a musical composition with the provision that it is not a
dissonant of the fundamental note. (47c-48a)
'K' interprets aṁśa-avivādī (not dissonant to the fundamental note)
to imply that it should be a consonant to it. But the expression being
negative only forbids the dissonant of the fundamental note from
becoming a saṁnyāsa (note) and does not affirm it positively to be either
11. Aṁśa is printed as antya (nyāsa) in the Adyar edition. 'S'
clearly reads aṁśa, 'K' is silent and K. R. follows the reading
of 'S' (cf. S. R. Vol I, p. 125). This reading is further
supported by S. Raj (II.1.4.94) wherein it is stated that the
semifinal notes identical with the fundamental notes are nine-
teen. However, it is only with reference to the śuddha jāti-s
that this statement holds good. In view of further evidence in
the text pertaining to the description of individual jāti-s, such
as ārṣabhī etc. the reading aṁśa has been preferred in our text.
12. These are indicated in item No. 1-5 of the above chart.
13. 'They' stands for apanyāsa-s (the semifinal notes).

1. Obviously more than one sub-section is visualised in a jāti.
   As already mentioned, vidārī is rendered as sub-section in
   order to distinguish it from section (dhātu) and part (aṅga),
   though it rather could as well mean a section.

Page 293

Section 7 : Jāti-s (Melodic types) 293
8. Vinyāsa : (48bd)
Similarly, vinyāsa is the note that stands at the end of a
pada² forming a part of a sub-section and is not related to the
fundamental note as its dissonant. (48b+d)
consonant or assonant. Obviously, therefore, it can be either of them.
Indeed Mataṅga expresses the same view interpreting the same express-
ion in the context of vinyāsa.
Vidārī is a sub-section of a musical composition, and it is divided
by certain notes that conclude certain patterns of tonal movement and
phrases structured upon meaningful words or syllabic units; and such a
note is known as vinyāsa, with the other qualifications of saṁnyāsa. That
is why Mataṅga considers it to be a qualified saṁnyāsa, as he says:
"This (note) itself which is saṁnyāsa becomes vinyāsa if it occurs at the
close of a portion (pada); and therefore it is said to be functioning as the
consonant or the assonant (note) of the fundamental (note) at the close
of a pada (Quoted by 'S' in his commentary). 'K' notably points out that
since all the notes excepting the dissonants can function as saṁnyāsa and
vinyāsa, they have not been enumerated, their number being too great.
9. बहुत्वम्
अलङ्घनत्तथा ऽभ्यासाद्बहुत्वं द्विविधं मतम् ।
पर्यायांशे स्थितं तच्च वादिसंवादिनोरपि ॥४९॥
9. Profusion (bahutva) : (49)
Profusion¹ is accepted to be twofold : by non-over-
stepping² and by repetition³. It abides in the co-fundamental
note⁴, as also in the sonant and the consonant. (49)
2. Pada literally means a complete or inflected word, i. e. a
meaningful word, a quarter or a line of stanza, a part, portion
or division (as of a sentence) etc. Here it seems to have been
used in the sense of a meaningful word or a specified syllabic
unit devoid of meaning.

1. Bahutva of the text.
2. Laṅghanam literally means overstepping in the sense of by-
   passing without physically avoiding a note entirely.
3. Abhyāsa is a technical term in Sanskrit grammar, implying a
   single repetition. Here it has been used in an extended
   meaning, implying multiple repetition.
4. Paryāyāṁśa refers to those notes that are capable of being
   employed as fundamental notes in the same jāti.

294 Treatment of Svara
Bahutvam, i. e. profusion is defined with reference to alpatvam, i. e.
rareness, and is considered as the opposite concept. Since rareness is
considered to be twofold, correspondingly profusion too is accepted as
such. Rareness is obtained through overstepping and by unexercised
use of a particular note. Overstepping (laṅghanam) is defined by 'K' as
'īṣatsparśa', i. e. a slight touch, which is aptly explained by 'K. R.' as
lightly passing over, so that it does not imply an all-out omission. Non-
overstepping implies the absence of overstepping which according to 'K'
means 'touching fully', probably in contrast with 'touching slightly' in
the case of rareness.
Abhyāsa is defined by 'K' as repetition, which he explains to be
twofold, viz. uninterrupted and frequent. Constant repetition of a note
without being interrupted by others illustrates the former, and inter-
rupted but frequent repetition the latter.
There is some difference in the interpretations of the two commen-
tators with regard to the text of 49 cd. According to 'K' "That twofold
profusion abides in the paryāyāṁśa, i. e., the fundamental note other
than that which is the sonant, and even in the sonant and the consonant."
On the other hand, 'S' interprets: "Profusion is another name for
'sonant and consonant'. If the profusion is by non-overstepping, it is
sonant and that which is by repetition is consonant." 'K. R.' thinks
that probably 'S' had a different reading of the text which he recons-
tructs as—"paryāyo'mśe sthitaṁ tac-ca vādī-saṁvādino r-api" which he trans-
lates as—"That (profusion) abiding in the aṁśa will be the synonym of
vādī and saṁvādī."
10. अल्पत्वम्
अल्पत्वं च द्विधा प्रोक्तमनभ्यासाच्च लङ्घनात् ।
अनभ्यासस्त्वनंशेषु प्रायो लोप्येष्वपीष्यते ॥५०॥
ईषत्स्पर्शो लङ्घने स्यात्प्रायस्तल्लोप्यगोचरम् ।
उशन्ति तदनंशे ऽपि क्वचिद्गीतविशारदाः ॥५१॥
10. Rareness (alpatva):
Rareness¹ is said to be twofold, viz. by the absence of
repetition² and by overstepping. Absence of repetition is

1. Alpatvam of the text.
2. Abhyāsa of the text which has already been explained.
   Section 7: Jāti-s (Melodic types) 295
   (practised) with regard to the non-fundamental notes³ and
   is generally desired in (the case of) the eliminated⁴ notes. (50)
   Overstepping⁵ is slightly touching and is generally
   observed among the eliminated notes. Musicologists, some-
   times, admit it⁶ even in (the case of) non-fundamental
   notes. (51)
   Alpatva (rareness) of a note is secured by reversing the process of
   profusion, viz. by non-repetition and by overstepping. Not to repeat
   is to take (sing) only once as elucidated by 'K'. That is practised with
   regard to the notes other than the fundamental ones and those that are
   to be eliminated in the process of forming hexatonic and pentatonic
   varieties.
3. अन्तरमार्गः
   न्यासादिस्थानमुज्झित्वा मध्ये मध्ये ऽल्पतायुषाम् ।
   स्वराणां या विचित्रत्वकारिण्यंशादिसंगतिः ॥५२॥
   अनभ्यासैः क्वचित्क्वापि लङ्घनैरेव केवलैः ।
   कृता सा ऽन्तरमार्गः स्यात्प्रायो विकृतजातिषु ॥५३॥
4. Antaramārga: (52-53)
   Sparing the positions of the final and other¹ notes,
   taking in-between the rare² notes intermittently³, the concor-
   dance that is established with the fundamental and other⁴
5. Notes other than the fundamental ones, i. e. the sonant and the
   co-fundamental notes.
6. That is, the notes omitted in order to form hexatonic (ṣāḍava)
   and pentatonic (auḍuva) structures.
7. Laṅghanam of the text.
8. 'It' stands for overstepping.
9. The positions of the final, the semifinal, the initial and the
   fundamental notes as well as the saṁnyāsa and vinyāsa notes,
   according to 'K'.
10. Alpatā-yujāṁ svarāṇām literally rendered would read, "of the
    notes served with rareness", i. e. rare notes.
11. Madhye madhye : The repetition of madhya is suggestive of inter-
    mittent occurrence of the rare notes in-between the positions
    of notes enumerated in (1) above.
12. Ādi is interpreted by 'K' here as well, as referring to the
    initial, the semifinal and such other notes.

296 Treatment of Svara
notes which creates an artistic variety⁵ sometimes by non-
repetition and somewhere by overstepping only, is (called)
antaramārga and is generally (found) among modified
jāti-s. (52-53)
12. षाडवम्
षडवन्ति प्रयोगं ये स्वरास्ते षाडवा मताः ।
षट्स्वरं तेषु जातत्वाद्गीतं षाडवमुच्यते ॥५४॥
13. औडुवम्
वान्ति यान्त्युडवो ऽत्रेति व्योमोक्तमुडुवं बुधैः ।
पञ्चमं तच्च भूतेषु पञ्चसंख्या तदुद्भवा ॥५५॥
ओडुवी सा ऽस्ति येषां च स्वरास्ते त्वौडुवा मताः ।
ते संजाता यत्र गीते तदौडुवितमुच्यते ॥५६॥
तत्सम्बन्धादौडुवं च पञ्चस्वरमिदं विदुः ।
क्रमादल्पाल्पतरते षाडवौडुवकारिणोः ॥५७॥
सम्पूर्णत्वदशायां स्तः, पञ्चम्यां तु विपर्ययः ।
वचनं विधिरप्राप्ताविहाल्पत्वबहुत्वयोः ॥५८॥
परिसंख्या द्वयोः प्राप्तावेकस्यातिशयाय यत् ।
12 &13. Hexatonic (ṣāḍava) and pentatonic (auḍuva) forma-
tion : ( 54-59 b )
The six notes that preserve¹ a (musical) performance²
are accepted to be hexatones, and the song arising out of
those six is called hexatonic (ṣāḍava). ( 54 )
5. 'K' elucidates that the consonance with the fundamental note
etc., becomes delightful when served by the ascending and
other movements creating wonderful tonal structures with
note-series and so on.

1. Avanti lit. means protect (from the root av to protect).
2. Prayoga technically means 'performance or rendering' and in
   this context, it pertains to a musical composition or a song.
   The word is otherwise applicable to all the performing arts.
   Section 7 : Jāti-s (Melodic types) 297
   ( Because ) here, in the sky, the stars ( uḍu-s ) move
   about, it is called uḍuvam by the sages; and that is fifth among
   the ( great ) elements³; the number five derived from it⁴ is
   auḍuvī ( fiver ), and ( therefore ) the notes of that ( number )
   are accepted to be auḍuva ( pentatones ). When these⁵ as
   such occur in a musical composition⁶ it is said to be 'made
   as pentatonic' ( auḍuvita ) and this group⁷ of five notes being
   related to it is known⁸ as pentatonic ( auḍuva ). ( 55-57b )
   The author is presenting here a semantic derivation of the two
   terms ṣāḍava and auḍuva, the former signifying a musical composition
   or a song composed with six notes and the latter with five notes. Both
   the names are derived from the numbers six and five, of which the
   former naturally holds good and the latter is obviously laboured and
   seems to be far-fetched. It is said that the word auḍuaa (pentatonic)
   is finally derived from the word uḍu. The text of the verses 55-57b
   gives us this derivation in the following five stages; worked backwards :
   ( i ) The word derived is......auḍuva (pentatonic).
   ( ii) Auḍuva (pentatonic) is a group of five notes belonging to a
   song which is made pentatonic (auḍuvita).
   (iii) Auḍuvita is the name of that song which is qualified by the
   number five (auḍuvī).
   (iv) Auḍuvī (the number five) is derived from uḍuvam (sky) because
   it is the fifth of the five great elements.
   ( v) Uḍuvam (sky) is so named because it is the dwelling place of
   uḍu-s (stars). (55-57b)
   Hexatonic and pentatonic forms of jāti-s are formed by eliminat-
   ing one or two notes respectively; but these forms are possible of those
   jāti-s that are capable of being modified through incompleteness, and
   most of these jāti-s therefore necessarily have three forms, viz. complete,
   hexatonic and pentatonic. Here, the author says that the notes, which
   by being eliminated from the complete forms become the cause of the
3. That is, if counted in the order of dissolution, viz. earth, water,
   fire, air and space; but they evolve in the reverse order.
4. From the fact that the sky is the fifth element.
   . The five notes called pentatones.
5. Literally, in a song.
6. Combination of five notes seems to be implied.
7. 'S' says, "Known to Bharata and his successors."

298 Treatment of Svara
In the state of completeness, the notes causing hexa-
tones⁹ and pentatones¹⁰ respectively become rare¹¹ and
rarer¹², while it is the reverse with pañcamī. ( 57c-58b )
Rareness and profusion not being obtained ( in the
ordinary course ) the statement ( obtaining them ) forms a
specific rule ( vidhi ). In case of two ( possibilities ) obtain-
ing, the pre-eminence of one is by exclusive specification
( parisaṅkhyā ). ( 58c-59b ).
hexatonic and pentatonic formations, in the state of completeness (while
they are not being eliminated), are respectively employed rarely and
very rarely, i. e. those that are the makers of hexatonic forms (ṣāḍava-
kārī) are characterised by rareness and those that are the makers of
pentatonic forms (auḍuvakārī) are characterised by greater rareness.
But in the case of pañcamī jāti this rule is applied in reverse order, the
pentatone-makers being rare and the hexatone-makers being rarer.
(57c-58b).
It has been stated ( just before this) that with regard to rareness
in the state of completeness of jāti-s the ordinary rule is applicable to
pañcamī in the reverse order. The question is why such a transgression
of the rule is permitted. The simple answer to it is that it is ordained
by a rule, which is framed by ancient authorities. However, the author
explains this exception in the light of relationship obtaining between
the concepts vidhi (rule) and parisaṅkhyā (exclusive specification) as found
in the Mīmāṁsā system of Indian Philosophy. In order to understand
the real import of the text one has to be clear about these two concepts
as applied to the situation obtaining with reference to the provision of
rareness and profusion in the pañcamī jāti.
Vidhi means a rule or a precept that enjoins something for the first
time, while parisaṅkhyā means such specification that acts as a limitation
to what is expressly mentioned.
"Let one offer twilight worship in the morning" is a religious in-
junction cited as an example of vidhi by 'K'. One cannot by any means
know whether one should or should not perform a religious ceremony
except by the injunction of a sacred book. The point is that the rule is
laid down for a certain observance by an unquestionable authority.
9. Ṣāḍava.
10. Auḍuva.
11& 12. 'K' interprets alpa and alpatara respectively as anabhyāsa (non-
repetition) and laṅghana (overstepping).
Section 7 : Jāti-s (Melodic types) 299
'K. R.' cites an example for parisaṅkhya (exclusive specification) in the
statement : "the five-clawed (animals) may be eaten." Eating of meat
is known by experience. This statement gives a preference to the meat
of five-clawed animals. It results in prohibition of the meat of animals
other than the five clawed ones.
The structure of pañcamī is described subsequently (verse 73-75b)
wherein it is said that sa, ga and ma are rare notes in it; and the hexa-
tonic and pentatonic forms are respectively caused by the elimination of
ga, and ni and ga. So ordinarily ni and ga being the makers of hexatonic
and pentatonic forms, should, in the state of completeness, respectively
be rare and rarer. Thus, of the notes that are declared to be rare, viz.
sa, ga, ma, the first and the last, viz. sa and ma are not obtained in the
usual process; they are given as a rule (vidhi). On the other hand,
niṣāda is declared to be one of the semifinal notes by Bharata (as quoted
by 'K' in his commentary) and therefore to be taken profusely. So we
have a contradiction in so far as the same note (niṣāda in this case) can-
not in the same jāti be a rare as well as a frequent note. This contra-
diction, as observed by 'K' is sought to be removed through the distinc-
tion made between vidhi and parisaṅkhyā. Both ga and ni are given as
rare notes (in the state of completeness), so in order to bring the rareness
of ga into prominence, that of ni is discarded; and this is parisaṅkhyā.
ग. जातीनां विशेषलक्षणानि
अथ प्रत्येकमेतासां जातीनां लक्ष्म कथ्यते ॥५९॥

1. षाड् जी जातिः
   षाड् ज्यामंशाः स्वराः पञ्च निषादर्षभवर्जिताः ।
   निलोपात्षाडवं सो ऽत्र पूर्णत्वे काकली क्वचित् ॥६०॥
   सगयोः सधयोश्चात्र संगतिर्बहुलस्तु गः ।
   गान्धारे ऽंशे न नेर्लोपो मूर्च्छना धैवतादिका ॥६१॥
   त्रिधा तालः पञ्चपाणिरत्र चैककलाऽऽदिकः ।
   ऋन्मार्गाश्चित्रवृत्तिदक्षिणा, गीतयः पुनः ॥६२॥
   मागधी संभाविता च पृथुलेति क्रमादिमाः ।
   नैष्क्रामिकध्रुवायां च प्रथमे प्रेक्षणे स्मृतः ॥६३॥
   विनियोगो, द्वादशात्र कला अष्टलघुः कला ।

300 Treatment of Svara
अस्यां षाड्ज्यां षड्जो न्यासः। गान्धारपञ्चमावपन्यासौ।
वराटी दृश्यते। अस्याः प्रस्तारः—
१. षाड्जी
१. सा सा सा सा पा निध पा धनि
तं भ व ल ला ट
२. रो गम गा गा सा रिग धस धा
न य नं बु जा धि
३. रिग सा रो गा सा सा सा सा
कं
४. धा धा नी निसं निध पा सां सां
न ग सू नु प्र ण य
५. नो धा पा धनि री गा सा गा
के लि स मु द्भ
६. सा धां धंनिं पां सा सा सा सा
वं
७. सा सा गा सा मा पा मा मा
स र स कृ त ति ल क
८. सा गा मा धनि निध पा गा रिग
पं का नु ले प
९. गा गा गा गा सा सा सा सा
नं
१०. धां सा री गरि सा मा मा मा
प्र ण मा मि का म
११. धा नो पा धनि री गा री सा
दे हं ध ना न
१२. रिग सा री गा सा सा सा सा
लं
[तत्र साकल्येन पदयोजना]
[तं भवलाटनयनाम्बुजाधिकं नगसूनुप्रणयकेलिसमुद्भवम् ।
सरसकृततिलयपङ्कानुलेपनं प्रणमामि कामदेहेन्धनान लम् ॥]
C. The characteristic features of the particular jāti-s: 59c-109
Now the characteristic features of each of these (jāti-s) are described. (59cd)
(i) Ṣāḍjī: (60-64)
In ṣāḍjī there are five¹ fundamental notes leaving aside niṣāda and ṛṣabha. The hexatone is (formed) by the elimina-
tion of ni, which in the state of its being complete sometimes becomes kākalī. Sa and ga and sa and dha are in concert
(saṅgati); ga is profuse. In the event of gāndhāra being the fundamental note ni cannot be eliminated, (its) mūrcchanā
commences with dhaivata. Here, the tāla (beat-cycle) is threefold pañcapāṇi which as ekakala and so on² is respectively³
set in the citra, vṛtti⁴ and dakṣiṇi mārga-s (span) and again in māgadhī, sambhāvitā and pṛthulā gīti-s in due order.⁵ Its proper
application (viniyoga) is known to be in the naiṣkrāmikī dhruvā⁶

1. These are sa, ga, ma, pa, dha.
2. Here, in ṣāḍjī, the tāla is pañcapāṇi (ṣaṭ-pitāputraka) which is threefold, viz. ekakala, dvikala and catuṣkala. These are defined in Chapter V.
3. That is, in the ekakala pañcapāṇi the mārga to be adopted is citra, in dvikala, vṛtti and in catuṣkala, dakṣiṇa mārga.
4. Vārtika is another name given to it.
5. That is, ekakala, dvikala and catuṣkala respectively are in māgadhī, sambhāvitā and pṛthulā gīti-s.
6. It is the song of naiṣkrāmikī dhruvā, as composed after the melodic pattern set in the ṣāḍjī jāti which is employed in the first act of a drama Dhruvā is a name for a particular class of songs sung in dramatic performances. These are of five types, viz. prāveśikī, ākṣepikī, prāsādikī, antarā and naiṣkrāmikī which are used in different junctures from a technical point of view.

Page 302

302 Treatment of Svara
in the first act (of a drama). There are twelve kalā-s⁷ of eight
laghu-s⁸ (shorts) each. (60-64b)
In this ṣaḍjī the final note is ṣaḍja, the semifinal notes
are gāndhāra and pañcama and varāṭī is seen (through it). Its
prastāra⁹ (elaboration) follows :

1. sā sā sā sā pā ni-dha pā dha-ni
   Tam bha va la ṭa
2. rī ga-ma gā gā sā ri-ga dha-sa dha
   na ya naṁ bu jā dhī
3. ri-ga sā rī gā sā sā sā sā
   kam
4. dhā dhā nī ni-sa ni-dha pā sā sā
   na ga sū pra ṇa ya
5. nī dhā pā dha-ni rī gā sā gā
   ke li sa mu dbha
6. sā dhā dha-ni dha-pā sā sā sā sā
   vaṁ
7. sā sā gā sā mā pā mā mā
   Sa ra sa kṛ ta ti la ka
8. sā gā mā dha-ni ni-dha pā gā ri-ga
   paṅ ka ru he pa
9. gā gā gā sā sā sā sā sā
   naṁ
10. dhā sā rī ga-ri sā mā mā mā
    pra ya mā mi ka ma
11. dha nī pa dha-ni rī ga rī sā
    de hen dha na na
12. ri-ga sā rī gā sā sā sā sā
    laṁ
13. Kalā is understood by Nijenhuis as ‘variable time unit’ which
    brings out the idea so well, but it being a phrase, she has
    not herself used it as an equivalent term. Here it seems to
    imply a phrase, a tonal sector structured upon a verbal unit in
    a definite time space.
14. ‘K’ points out that in the context of tāla, laghu is the measure
    of time taken to pronounce five short syllables. And eight
    such laghu-s constitute one kalā. Thus the kalā spoken of here
    pertains to dakṣiṇa mārga as the author himself says in verse
    subsequently. ‘S’ reads eight guru-s (longs) in place of eight
    laghu-s. ‘K’ elucidates that the prescribed form of tāla is
    catuṣkala. In the Vārtika mārga, i. e. in dvikala form it will
    have twentyfour kalā-s of four laghu-s each, while in the citra
    mārga, i. e the ekakala form it will have fortyeight kalā-s of
    two laghu-s each (See ‘K’ on 111 cd. and 112 ab).
15. It has not been possible to give signs for tāra-mandra in the
    notations reproduced in the Roman script.

Page 303

Section 7 : Jāti-s (Melodic types) 303
The author now describes (from verse 60-109) the distinguish-
ing features of each of the eighteen jāti-s separately. It would be
observed from the above description that the jāti songs in various forms
constituted a part and parcel of the dramatic episodes and their tech-
nique of presentation and contributed in terms of musical effect to the
creation of aesthetic delight (rasa). This explains their relation to
rasa and also presents the perspective in which the jāti-songs must
be viewed.
It is notable that Śārṅgadeva, in addition to the jāti-lakṣaṇa-s
(characteristic features of jāti-s) also invariably mentions the commence-
ment of the mūrcchanā as an added essential feature. In Bharata’s
system it was understood that the fundamental note which is also the
initial note would be the commencing note of the mūrcchanā. So, in a
way Śārṅgadeva is recording a departure from that notion, and it seems
that it is based on Mataṅga’s twelve-tone (dvādaśa-svara) mūrcchanā-s, a
concept brought into being by such ancient authorities as Kohala and
Nandikeśvara (as quoted by him vide Br. D. p. 32) and elaborated by
him. As each jāti has more than one fundamental note (as capable of
being used), Bharata’s system of seven-tone (sapta-svara) mūrcchanā-s (also
otherwise spoken of by Mataṅga) could easily be worked on stringed
instruments of the harp type, that had as many as twentyone strings,
but it was not suited to the fretted instruments of the lute type with
fixed note positions It is conjectured that when such instruments
appeared during the times of Mataṅga and others, it was found difficult
to work out the seven-tone mūrcchanā-s on them, since every time the
fundamental note of a jāti was changed it required a different tuning
of the instruments. Therefore a system comprising notes of three
registers such as two of the lower, seven of the middle and three of the
higher was invented to obviate this difficulty and to obtain the structure
of a rāga or a bhāṣā, etc. within the range of twelve notes. So the
very purpose of mūrcchanā was extended to include the comprehension of
the tonal structure (outline) of a rāga and so on (see S. Chintāmaṇi,
p. 66).
However Kallinātha seems to have identified the seven-tone
mūrcchanā-s of Bharata with the twelve-tone mūrcchanā-s of Mataṅga
quietly accepted in this context by Śārṅgadeva, without mentioning
them as such anywhere else. But such an identification is obviously
erroneous. The expression dhaivatādi of the text (i. e. commencing
with dhaivata) is borrowed from Mataṅga and refers to the twelve-
tone mūrcchanā-s innovated by him. The twelve-tone mūrcchanā-s of
Mataṅga are illustrated as under :

Page 304

304 Treatment of Svara
Ṣaḍja-grāma

1. dha ni sa ri ga ma pa dha ni sa ri ga
2. ni sa ri ga ma pa dha ni sa ri ga ma
3. sa ri ga ma pa dha ni sa ri ga ma pa
4. ri ga ma pa dha ni sa ri ga ma pa dha
5. ga ma pa dha ni sa ri ga ma pa dha ni
6. ma pa dha ni sa ri ga ma pa dha ni sa
7. pa dha ni sa ri ga ma pa dha ni sa ri
   Madhyama-grāma
8. ni sa ri ga ma pa dha ni sa ri ga ma
9. sa ri ga ma pa dha ni sa ri ga ma pa
10. ri ga ma pa dha ni sa ri ga ma pa dha
11. ga ma pa dha ni sa ri ga ma pa dha ni
    5 ma pa dha ni sa ri ga ma pa dha ni sa
12. pa dha ni sa ri ga ma pa dha ni sa ri
13. dha ni sa ri ga ma pa dha ni sa ri ga
    (Cf. Bṛhaspati : Bharata kā Saṅgīta Siddhānta 1959, pp. 51, 52)
    It will be noticed that, whereas the seven-tone mūrcchanā-s are
    formed in descending order, these twelve-tone mūrcchanā-s are formed in
    ascending order in succession. Our comments on S. R. I. 4 9 may also
    be referred to in this context. However, the concept of twelve-tone
    mūcchanā-s is a significant development in the history of Indian music,
    since it is linked with the advent of fretted stringed instruments. But
    it may also be noted that it was not able to hold ground for long and
    was later abandoned by such writers as Kumbha. Even Śārṅgadeva
    did not find it necessary to expound it.
    Technical terms with regard to the practice of Tāla will be dealt
    with adequately in chapter V entitled Tālādhyāya. (60 64b)
    With respect to the final note in the ṣaḍjī, 'K' elaborates the idea:
    "in the modified form of ṣaḍjī despite the non-applicability of the rule
    (of śuddhatā) with regard to the initial note and so on, the denominative
    note is the final note in the śuddha as well as the modified forms." How-
    ever, the statement of the text that, gāndhāra and pañcama are the semi-
    final notes, applies to its modified forms only, since in the śuddha state it
    is ṣaḍja, the denominative note, that has to be the semifinal note.

Page 305

Section 7 : Jāti-s (Melodic types) 305
The expression varāṭī dṛśyate suggests, according to 'K', that at
places ṣaḍjī appears to be varāṭī (rāga) and he says it happens when
kākalī is employed in the modified form (of ṣaḍjī).
Prastāra, in this context is defined by 'K' as "the arrangement of
notes in the (different) kalā-s". The prastāra given here pertains to the
scale of standard notes in the ṣaḍja-grāma. There are, as already pointed
out, twelve kalā-s with eight laghu-s each. Single notes are written with
a long vowel and more than one notes with a short vowel are put
together, with the same time-value. The lower register is indicated
in the text by a dot (·) above and the higher register by a vertical
stroke (।) above. The couplet (or the verse) represents the literary
composition, the text of the song and is said to be composed by Brahmā
with its syllables set to the tones distributed in the kalā-s as indicated.
The purport of the verse is as under :
Obeisance to that extra eye-lotus in the forehead of Lord Śiva,
the product of the amorous sport of Pārvatī, the bearer of the ointment
of the moist paste of unguents of the tilaka mark and the fire of the fuel
of the cupid's body.
The number of notes used in it, counted from the point of view of
assessing their relative profusion or rarity, is as under:
Ṣaḍja — 36 Pañcama — 8
Ṛṣabha — 12 Dhaivata — 16
Gāndhāra — 20 Niṣāda — 12
Madhyama — 8
Total : 112
This is the prastāra of ṣaḍjī with ṣaḍja for its fundamental note.
The rasa or the aesthetic delight in all the jāti-s is declared to be in
accordance with the fundamental note. Other prastāra-s of ṣaḍjī with
gāndhāra etc. as its fundamental notes are similarly to be conceived on
this pattern.
२. आर्षभी जातिः
आर्षभ्यां तु त्रयो ऽंशाः स्युर्निषादर्षभधैवताः ॥६४॥
द्विश्रुत्योः संगतिः शेषैर्लङ्घनं पञ्चमस्य च।
षाडवं षड्जलोपेन सपलोपादथौडुवम् ॥६५॥
मूर्च्छना पञ्चमादिश्च तालश्चच्चत्पुटो मतः।
अष्टौ कला भवन्तीह विनियोगस्तु पूर्ववत् ॥६६॥

Page 306

306 Treatment of Svara
अस्यामार्षभ्यामृषभो न्यासः । अंशा एवापन्यासाः । देशीमधुकर्यौ
दृश्येते । अस्याः प्रस्तारः—
२. आर्षभी
१. री गा सा रिग मा रिम गा रिरि
गु ण लो च ना धि
२. री री निध निध गा रिम मा पनि
क म न न्त म म र
३. मा धा नी धा पा पा सा गा
म ज र म क्ष य
४. नी धनि री गरि सधं गरि री री
म जे यं
५. री मा गरि सधं सस रि रिग मम
प्र ण मा मि दिव्य
६. निध पा री री रिप गरि सधं सा
म णि द र्प णा म
७. रिस रिस रिग रिग मा मा मा गरि
ल नि के तं
८. पा नि री मा गरि सधं गरि गरि
भ व म मे यं
[तत्र साकल्येन पदयोजना]
[गुणलोचनाधिकमनन्तमममजरमक्षयमजेयम् ।
प्रणमामि दिव्यमणिदर्पणामलनिकेतं भवममेयम् ।। ]
(ii) Ārṣabhī : 64c-66
In ārṣabhī, however¹, there are three fundamental notes,
viz. niṣāda, dhaivata and ṛṣabha; gāndhāra and niṣāda are in

1. The use of the indeclinable tu, as pointed out by ‘K’, distin-
   guishes the order of ārṣabhī from that of ṣāḍjī.

Page 307

Section 7 : Jāti-s (Melodic types) 307
concert² (saṅgati) with the rest (of the notes), and pañcama
is to be overstepped³. The elimination of ṣaḍja (causes) the
hexatonic (form) and that of ṣaḍja and pañcama, the penta-
tonic one; its mūrcchanā commences with pañcama and caccatpuṭa
is accepted as its tāla. It has eight kalā-s and its proper
application is like that of ṣāḍjī⁴ (lit. as before) (64c-66).
In this⁵ ārṣabhī the final note is ṛṣabha, the fundamental
notes⁶ are the semifinal notes, and deśī and madhukarī are
seen (in it)⁷. Its prastāra⁸ :

1. ri gā sā ri-ga mā ri-ma gā ri·ri
   Gu ṇa lo ca na dhi⁹
2. ri rī ni-dha ni-dha ga ri-ma ma pa-ni
   ka ma na nta ma ma ma ra
3. mā dhā nī dhā pā pā sā gā
   ma ja ra ma kṣa ya
4. nī dha·ni rī ga-ri sa-dha ga-ri ri rī
   ma je yaṃ
5. rī ma ga-ri sa-dha sa-sa ri-sa ri-ga ma-ma
   Pra ṇa mā mi divya
6. ni·dha pā rī rī ri-pa ga-ri sa-dha sā
   ma ṇi da rpa ṇa ma
7. ri-sa ri-sa ri-ga ri-ga mā mā mā ag-ri
   la ni ke taṃ
8. pā nī rī mā ga·ri sa-dha ga·ri ag-ri
   bha va ma me yaṃ
9. ‘K’ elucidates that each of them is separately in concert with the other notes.
10. ‘K’ takes laṅghana in the sense of alpatara, ‘being very rare’ and ‘S’ takes it in the sense of īṣat-sparśa ‘slight touch’. This is applicable only to its state of completeness.
11. That is, in the naiṣkrāmikī dhruvā.
12. The one that has been described above.
13. That is, niṣāda, ṛṣabha and dhaivata.
14. ‘K’ says ārṣabhī gives the impression of deśī and madhukarī when ṛṣabha is dominant.
15. The number of different notes employed can be computed from the prastāra, and the prastāra-s oriented by other fundamental notes of ārṣabhī (i. e. ni and dha) can be worked out on the above pattern.
    — The purport of the text is as under :
    Obeisance to Bhava (Śiva) having the three guṇa-s for his eyes, the endless, immortal, undecaying, indestructible and invincible, the pure abode of mirror-like divine jewels and the immeasurable (one).
16. ‘K’ reads adikam instead of dhi[kam]...

308 Treatment of Svara
3. गान्धारो जातिः
पञ्चांशा रिधवर्ज्याः स्युर्गान्धार्यां संगतिः पुनः ।
न्यासांशाभ्यां तदन्येषां धैवतादृषभं व्रजेत् ॥६७॥
रिलोपरिधलोपाभ्यां षाडवौडुविते क्रमात् ।
पञ्चमः षाडवद्वेषी निसमध्यमपञ्चमाः ॥६८॥
अंशा द्विषन्त्यौडुवितं कलाः षोडश कीर्तिताः ।
मूर्च्छना धैवतादिः स्यात्तालश्चच्चत्पुटो मतः ॥६९॥
विनियोगो ध्रुवागाने तृतीयप्रेक्षणे भवेत् ।
अस्यां गान्धार्यां गान्धारो न्यासः । षड्जपञ्चमावपन्यासौ ।
गान्धारपञ्चमदेशीवेलावत्यो दृश्यन्ते । अस्याः प्रस्तारः—
३. गान्धारी
१. गा गा सा नौं सा गा गा गा
ए तं
२. गा गम पा पा धप मा निध निसं
र ज नि व धू मु ख
३. निध पनि मा मपरि गा गा गा गा
वि भ्र म दं
४. गा गम पा पा धप मा निध निसं
नि शा म य व रो रु
५. निध पनि मा मपरि मा गा मा सा
त व मु ख वि ला स
६. गा सा गा गा गा गम गा गा
व पु श्रा रु म म ल
७. गा गम पा पा धप मा निध निसं
मृ दु कि र ण
Section 7 : Jāti-s (Melodic types) 309
८. निध पनि मा मपरि गा गा गा गा
म् मृ त भ वं
९. री गा मा पध री गा सा सा
र ज त गि रि शि ख र
१०. नौं नौं नौं नौं नौं नौं नौं नौं
म णि श क ल शं ख
११. गा गम पा पा धप मा निध निसं
व र यु व ति दं त
१२. निध पनि मा मपरि गा गा गा गा
पं क्ति नि भं
१३. नी नी पा नो गा मा गा सा
प्र ण मा मि प्र ण य
१४. गा सा गा गा गा गम गा गा
र ति क ल ह र व नु
१५. गा पा मा मा निध निसं निध पनि
दं
१६. मा परिग गा गा गा गा गा गा
श शि नं
[तत्र साकल्येन पदयोजना]
[ एतं रजनिवधूमूखविभ्रमदं निशामय वरोरु
भवमुखविलासवपुश्राममलमुदुकिरणममृतभवम् ।
रजतगिरिशिखरमणिशकलशङ्खवरयुवतिदन्तपङ्क्तिनिभं
प्रणमामि प्रणयरतिकलहरवनुदं शशिनम् ॥]

310 Treatment of Svara
(iii) Gāndhārī : 67-70b
Gāndhārī has fundamental notes¹ barring ṛṣabha and
dhaivata, and its final and fundamental notes² are in concert
(saṅgati) with the rest of the other notes. From dhaivata one
should proceed to ṛṣabha.³ The hexatonic and the pentatonic
(forms) are (caused) by the elimination of ṛṣabha and dhaivata
respectively. Pañcama is incompatible⁴ with hexatones and
niṣāda, ṣaḍja, madhyama and pañcama as fundamental notes are
not conducive to pentatonic formations. (Its) kalā-s are said
to be sixteen, (its) mūrcchanā commences with dhaivata and the
tāla is accepted to be caccatpuṭa. (Its) proper application is
in the dhruvā songs of the third act. (67-70b)
In this gāndhārī, gāndhāra is the final note, ṣaḍja and
pañcama are the two semifinal notes, gāndhāra-pañcama⁵, deśī
and velāvalī are seen.⁶ Its prastāra⁷ :

1. That is, sa, ga, ma, pa, ni.
2. Gāndhāra is its final note; so, ga or sa, ga, ma, pa, ni when any
   of them is the fundamental note, these two notes are in con-
   cert with notes other than these two.
   3 ‘K’ infers from this rule that perhaps in the state of complete-
   ness of gāndhārī, ṛṣabha and dhaivata may be in concert.
3. ‘K’ here, comments : “when pañcama is the fundamental note,
   gandhari is naturally complete, i. e. no other forms are possible
   with ni, sa and ma as the fundamental notes; and hence it is
   only when gāndhāra is the fundamental note that all the three
   formations, viz. complete, hexatonic and pentatonic are
   possible.”
   ‘K. R.’ rightly points out that, “this is a madhyama-grāma
   jāti. In the madhyama-grāma pa has ri as its saṁvādī (conso-
   nant), and in this jāti, the aḍava is by dropping ri. But
   saṁvādī (consonant) shall not be dropped. So there is no
   ṣāḍava when pa is the aṁśa. For the same reason, when pa is
   aṁśa there can be no auḍuva (pentatone) which is effected by
   dropping ri and dha. As for there being no auḍuva when the
   other svara-s are aṁśa-s it is based on the words of Bharata.”
   (S. R. Vol. I, Chap. I. p. 104). This observation is based on
   Kallinātha’s comments.
4. Gāndhāra-pañcama is a grāma-rāga.
5. That is, they partly appear.
6. This represents the prastāra of gāndhārī with gāndhāra as its
   fundamental note.
   The purport of the verse is as under ;
   Section 7 : Jāti-s (Melodic types) 311
7. gā ga sā ni sā gā gā ga
   E tam
8. gā ga-ma pā pā dha-pa mā ni-dha ni-sa
   ra ja ni va dhū mu kha
9. ni-dha pa-ni mā ma-pa-ri gā gā mā gā
   vi bhra ma dam
10. gā ga-ma pā pā dha-pa mā ni-dha ni-sa
    ni śa ma ya va ro ru
11. ni-dha pa-ni mā ma-pa-ri mā gā mā sā
    bha⁸ va mu kha vi la sa
12. gā sā gā gā gā ga-ma gā ga
    va pu śca ru ma ma la
13. gā ga-ma pā pā dha-pa mā ni-dha ni-sa
    mṛ du ki ra ṇa
14. ni-dha pa-ni mā ma-pa-ri gā gā gā gā
    ma mṛ ta bha vam
15. rī gā mā pa-dha rī gā sā sā
    Ra ja ta gi ri śi kha ra
16. nī nī nī nī nī nī nī nī
    ma ṇi śa ka la śaṁ kha
    Listen, O maiden with beautiful thighs!* I bow down to
    this moon which presents as it were the illusion of being the
    face of the night appearing as a bride, which is beautiful on
    account of its being the embodiment of the lustre of Śiva's
    face, which emits pure and soothing rays, which is the source
    of nectar, which (shines) like the crystals of the crest of a
    silver mountain, a conch-shell and a streak of (pearl) teeth of
    a beautiful damsel, and which enhances (the charm of) the
    noise of sportive amorous quarrels.
17. The Adyar ed. of S. R. as well as 'K' read tava mukha (meaning
    'your face') but S. Raj reads it as Bhavamukha, i. e. Śiva's face.
    This has been taken as an error of the scribe and the reading
    bhavamukha has been adopted in our text for that is more
    cogent.

• Comp. S. Raj (Vol. I, p. 211) which reads niśātamo-apanudam
  (meaning, 'the dispeller of the darkness of night') instead of
  niśāmaya varoru as printed in the Adyar ed. of S. R. and also
  followed by 'K'. The reading of S. Raj is definitely better
  and more befitting in the context of a prayer. Obviously both
  are deriving from a common source of tradition.

312 Treatment of Svara
11. gā ga-ma pā pā dha-pa mā ni-dha ni-sa
va ra yu va ti dan ta
12. ni-dha pa-ni mā ma-pa-ri gā gā gā gā
paṁ kti ni bham
13. nī nī pā nī gā mā gā sā
pra ṇa mā mi pra ṇa ya
14. gā sā gā gā gā ga-ma gā gā
ra ti ka la ha ra va nu
15. gā pā mā mā ni-dha ni-sa ni-dha pa-ni
dam
16. mā pa-ri-a gā gā ga gā gā gā
śa śi nam
4. मध्यमा जातिः
पञ्चांशा मध्यमायां स्युरगान्धारनिषादकाः ॥७०॥
षड्जमध्यमबाहुल्यं गान्धारो ऽल्पो ऽत्र षाडवम् ।
गलोपान्निगलोपेन त्वौडुवं स्यात्कलाऽष्टकम् ॥७१॥
ऋषभादिर्मूर्च्छना स्यात्तालश्चच्चत्पुटो मतः ।
विनियोगो ध्रुवागाने द्वितीयप्रेक्षणे भवेत् ॥७२॥
अस्यां मध्यमायां मध्यमो न्यासः । अंशा एवापन्यासाः ।
चोक्षषाडवदेश्यान्थाल्यो दृश्यन्ते । अस्याः प्रस्तारः—
४. मध्यमा
१. मा मा मा मा पा धनि नी धप
पा तु भ व मू
२. मा पम मा सा मा गा री री
र्ध जा न न
३. पा मा रिम गम मा मा मा मा
कि रो ट
४. मां निघ निसं निघ पम पध मा मा
म णि व र्पं णं
५. नों नीं री री नों री री पा
गौ री क र प
६. नों मप मा मा सा सा सा सा
ल्ल वां गु लि सु
७. गं नी सां गं धप मा धनि सां
ते जि तं
८. पा सां पा निघप मा मा मा मा
सु कि र णं
[तत्र साकल्येन पदयोजना]
[पातु भवमूर्धजाननकिरीटमणिदर्पणम् ।
गौरीकरपल्लवाङ्गुलिसुतेजितं सुकिरणम् ॥४॥]
(iv) Madhyamā: (70c-72)
There are five¹ fundamental notes in madhyamā exclud-
ing gāndhāra and niṣāda; ṣaḍja and madhyama are profuse,
gāndhāra is rare,² hexatone is (caused) by the elimination of
gāndhāra and pentatone by that of niṣāda and gāndhāra in it;
it has eight kalā-s, (its) mūrcchanā commences with ṛṣabha and
the tāla is accepted to be caccatpuṭa. (Its) proper application
is in the dhruvā song of the second act. (70c-72)
In this madhyamā, madhyama is the final note, the very
fundamental notes³ are the semifinal notes, and cokṣaṣāḍava⁴,
deśī and andhālī are seen.

1. That is, sa, ri, ma, pa, dha by discretion.
2. This obviously applies to the complete forms.
3. That is, sa, ri, ma, pa, dha.
4. ‘K’ identifies it ith śuddha-ṣāḍava which is a grāma-rāga.

Page 314

· 314 Treatment of Svara
Its prastāra⁵ :

1. mā mā mā mā pā dha-ni nī dha-pa
   Pa tu bha va mū
2. mā pa-ma mā sā mā gā ri ri
   rdha ja na na
3. pā mā ri-ma ga-ma mā mā mā mā
   ki rī ṭa
4. mā ni-dha ni-sa ni-dha pa-ma pa-dha mā mā
   ma ṇi da rpa ṇam
5. nī nī ri ri nī ri ri pā
   Gau rī ka ra pa
6. nī ma-pa mā mā sā sā sā sā
   lla vaṁ gu li su
7. gā nī sā gā dha-pa mā dha-ni sa
   te ji tam
8. pā sā pā ni-dha-pa mā mā mā mā
   su ki ra ṇam
9. पञ्चमी जातिः
   रिपावंशौ तु पञ्चम्यां सगमाः स्वल्पका मताः ।
   रिमयोः संगतिर्गच्छेत्पूर्णत्वे गानिषादकम् ॥७३॥
   क्रमाद्गेन निगाभ्यां च षाडवौडुवता मता ।
   ऋषभो ऽशस्त्वौडुविते ह्येष्टषष्टौ च कला मताः ॥७४॥
   मूर्च्छनाऽऽदि तु पूर्वावत्प्रेक्षणं तु तृतीयकम् ।
10. The purport of the song is as under:
    May the mirror of the crest jewel crowning the upper
    (fifth) face of Śiva*, the rays emanating from which are beauti-
    ful as they are stimulated by the fingers of the graceful hands
    of Gaurī, protect (us).

• Comp. S. Raj Vol. I, p. 214, which reads Bhavamūrddhajanaya-
  nam meaning "the upper (third) eye of Śiva".

Page 315

Section 7 : Jāti-s (Melodic types) 315
अस्यां पञ्चम्यां पञ्चमो न्यासः। ऋषभपञ्चमनिषादा
अपन्यासाः। चोक्षपञ्चमदेश्यान्धात्यो दृश्यन्ते। अस्याः प्रस्तारः-
५. पञ्चमी
१. पा धनि नी नी मा नी मा पा
ह रं मू र्ध जा न
२. गा गा सा सा मां मां पां पां
नं म हे श म म र
३. पां पां धां नीं नीं नी गा सा
प ति बा हु स्तैं भ
४. पा मा धा नी निध पा पा पा
न म नं तं
५. पा पा री' री' री' री' री' री'
प्र ण मा मि पु रु ष
६. मां निग सा सध नी नीं नी नी
मु ख प द्म ल क्ष्मी
७. सां सां सां मा पा पा पा पा
ह र मं बि का प
८. धा मा धा नी पा पा पा पा
ति म जे यं
[तत्र साकल्येन पदयोजना]
[हरं मूर्धाननं महेशममरपतिबाहुस्तम्भनमनन्तम् ।
तं प्रणमामि पुरुषमुखपद्मलक्ष्मीहरमम्बिकापतिमजेयम् ॥]
(v) Pañcamī : (73-75b)
In pañcamī, ṛṣabha and pañcama are the two fundamental
notes, ṣaḍja, gāndhāra and madhyama are considered to be very

316 Treatment of Svara
rare¹, ṛṣabha and madhyama are in concert (saṅgati) and in
case of completeness one may proceed from gāndhāra to
niṣāda². The hexatones and pentatones³ are accepted to be
(formed) by the respective elimination of gāndhāra, and niṣāda
and gāndhāra. Ṛṣabha is not conducive to pentatonic forma-
tion when it is the fundamental note⁴, and eight kalā-s are
accepted (in it). Its mūrcchanā etc. is like the previous one⁵,
excepting that it is used in the third act. (73-75b)
In this pañcamī, the final note is pañcama; ṛṣabha, pañcama
and niṣāda are the semifinal notes; and cokṣapañcama, deśī and
āndhalī are seen.
Its prastāra⁶ :

1. pā dha-ni nī nī mā nī mā pā
   Ha ram⁷ mū rdha ja na
2. gā gā sā sā mā mā pā pā
   nam ma he śa ma ma ra
3. This obviously applies to the complete formations.
4. 'K' infers that ga and ni should be brought in concert with
   each other and also that this should not be attempted in the
   hexatonic and the pentatonic forms because ga and ni-ga are
   respectively to be eliminated in them.
5. Ṣāḍavauduvata is an abstract noun indicating the state of being
   hexatonic and pentatonic.
6. The pentatonic forms can be obtained by the elimination of
   ga and ni, so in the case of ṛṣabha being the fundamental
   note, even though there is no question of its consonant being
   omitted, yet by the authority of muni (Mataṅga ?), as quoted
   by 'K', pentatonic forms are not permitted.
7. That is, like that of madhyama, i. e. commencing in ṛṣabha.
   By etc., is included the caccatpuṭa tāla and the viniyoga, i. e.
   its application in the dhruvā song.
8. The purport of the song is as under :—
   Obeisance to that Śiva whose (fifth) face (emerges from)
   his (four) heads, the Lord of lords, the paralyser of the power
   of the chief of gods (Indra), the endless, the invincible, lord
   of Ambikā who robs Viṣṇu of the grace of his countenance*.
9. The anusvāra of Haram has been supplied to make the text more
   intelligible. The Adyar ed. of S. R. reads Haramūrdhaja etc.

• Comp. Bh. Bhāṣya of Nānyadeva Chap. VI which reads
  प्रणमामि पुरुषमहमलङ्कृतिभरं etc. meaning "I bow to the Being
  that bears profuse ornamentation" etc. instead of तं प्रणमामि
  पुरुषमुखपद्मसक्मीहरं etc.
  Section 7 : Jāti-s (Melodic types) 317

3. pā pa dhā nī nī nī ga sā
   pa ti ba hu stam bha
4. pā mā dhā nī ni-dha pā pā pā
   na ma nan tam
5. pā pā rī rī rī rī rī rī
   pra ṇa mā mi pu ru ṣa
6. mā ni-ga sā sa-dha nī nī nī nī
   mu kha pa dma la kṣmī
7. sā sā sā mā pa pā pā pā
   ha ra mam bi ka pa
8. dhā mā dha nī pā pā pā pā
   ti ma je yam
9. धैवती जातिः
   स्तो धैवत्यां रिधावंशौ लङ्घचावारोहिणौ सपौ ॥७५॥
   पलोपात्षाडवं प्रोक्तमौडुवं सपलोपतः ।
   ऋषभादिमूर्च्छना स्यात्तालो मार्गश्च गोतयः ॥७६॥
   विनियोगश्च षाड्जीवत्कला द्वादश कीर्तिताः ।
   अस्यां धैवत्यां धैवतो न्यासः । ऋषभमध्यमधैवता अपन्यासाः ।
   चोक्षकैशिकदेशीसिंहल्यो दृश्यन्ते । अस्याः प्रस्तार :--
   ६. धैवती
   १. धा धा निध पध मा मा मा मा
   त रु णा म लें डु
   २. धा धा निध निसं सां सां सां सां
   म णि भू षि ता म
   ३. सध धा पा मध धा निध धनि धा
   ल शि रो जं
   ४. सा सा रिग रिग सा रिग सा सा
   भु ज गा धि पे क