English Edition VOLUME I

Transcription

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2 śrī guruguhāya namaḣ Saṅgīta Saṁpradāya Pradarśini of Brahmaśrī Subbarāma Dīkṣita English Edition VOLUME I Vāggēyakāra Caritram, Saṅgīta Lakṣaṇa Prācīna Paddhati, Lakṣana Sangraha, Saṅgīta Saṁpradāya Pradarśini Rāgas of Mēḷas 1 to 6. Edited, Typeset, Printed & Published by Dr. P. P. Narayanaswami and Vidya Jayaraman Translation & Critical Commentary : Prof. S. R. Janakiraman, Musician Musicologist, Chennai c 2010 All rights reserved

3 Subbarāma Dīkṣita (1839 A.D 1906 A.D)

4 A. M. Cinnasva mi Mudaliya r W VIE E PR PY CO DEDICATION TO THIS ENGLISH EDITION This work is dedicated to A.M.Cinnasva mi Mudaliya r, for his pioneering efforts towards the cause of Indian Music in English, when the printing technology was at its infancy.

5 ABOUT THIS VERSION The Saṅgīta Saṁpradāya Pradarśini of Subbarāma Dīkṣita (whose autobiography can be seen in Section I.2 of this book), first published in 1904 at Eṭṭayapuram, is a valuable treasure in Telugu, on Indian Music and Musicology. To mark one hundred years of its publication, an English Web Edition of this notable work was initiated as a community-effort, by a group of dedicated volunteers in 2004, was completed in 2008, and made available to the public through the website However, the preliminary theoretical materials such as the Saṅgīta Lakṣaṇa Prācīna Paddhati and the Lakṣaṇa Saṅgraha sections dealing with various topics on musicology, were not translated. Based on the feedback we received, it was decided to complete these sections too, and that a printed edition would be helpful to students of music. This is the first volume of the English Edition, and includes the following: Vāggēyakāra Caritram the Biography of Composers. Saṅgīta Lakṣaṇa Prācīna Paddhati Details of the ancient tradition of Music. Lakṣaṇa Saṅgraha A compendium of various topics in musicology. Saṅgīta Saṁpradāya Pradarśini Rāgas of Mēḷas 1 6. The entire work was typeset (and the PDF file generated) using the programs, TEX/LATEX 2ε/pdfLATEX, and a host of allied packages. Macro definitions were written for all the symbols used in the original Saṅgīta Saṁpradāya Pradarśini, including all the gamaka symbols that Subbarāma Dīkṣita has employed in his Telugu work. The ślōkas provided in the main body are as given in the Saṅgīta Saṁpradāya Pradarśini. The dēvanāgari versions provided in the commentary represent the annotated version as found in the corresponding source text. A translation is also given for each verse, as part of the commentary. While we have taken care to present the main body of the Saṅgīta Saṁpradāya Pradarśini (1904) without changes, any additional information for the purposes of highlighting, or information that is missing in the Saṅgīta Saṁpradāya Pradarśini (1904) owing to printing errors, have been corrected and enclosed within brackets as applicable. On behalf of everyone involved in the SSP Project, P. P. NARAYANASWAMI VIDYA JAYARAMAN (August 2010) vi

6 ACKNOWLEDGEMENTS We would like to thank the three great stalwarts in Karṇāṭik Music, whose generous help and support, enabled us to venture in this project. Our profound thanks and gratitude to: Professor S. R. Janakiraman, Musician-Musicologist, Chennai, for helping us navigate the Saṅgīta Lakṣaṇa Prācīna Paddhati and Lakṣaṇa Saṅgraha. Dr. N. Ramanathan, Musicologist, Chennai, and Dr. R. S. Jayalakshmi, Vīṇa Viduṣi, Chennai, for providing scholarly and technical inputs at various stages in the project. We thank them for their translation and interpretation of the section on Instructions for easily identifying the (printed) mistakes, for providing editorial guidance for the Saṅgīta Lakṣaṇa Prācīna Paddhati and Lakṣaṇa Saṅgraha. Some footnotes clearly marked by the symbol ED: that appear in this work are results of their concrete suggestions. They carefully read the entire work critically checking with the Telugu edition of We record our sincere and heartfelt thanks to all three of them for their continued support and constant encouragement. Special thanks to: Ms. Sandhya Vinjamuri, who translated and edited the Vāggēyakāra Caritram section. Mr. Viswaram Janakiraman, for his help in reading the Telugu text and for a final proof-reading. Dr. R. Abhiramasundari (Department of Music, Queen Mary s College, Chennai), for proofreading the entire section on Māyāmāḷavagauḷa, and the 30 janyas, carefully checking the accuracy with the original Telugu SSP (1904). Dr. S. Sivaramakrishnan, our chief proof-reader, whose scholarly and mathematically precise proof-reading was very valuable to us. We sincerely acknowledge the hosting space generously provided by ibiblio.org, the conservancy and archival initiative of University of North Carolina, Chapel Hill, NC for uploading the web version of the work at: URL: From time to time, several individuals came forward and offered us their valuable help in proofreading various parts of the material. Their dedicated contributions and concrete suggestions for the improvement of the presentation were very valuable to us. We record our heartfelt thanks to the following individuals: Mr. Variath Madhavan Kutty, Ms. Rajani Arjun, Dr. Varagur S. V. Rajan, Dr. Sandeep Varma, Ms. Kiranavali Vidyasankar, Dr. Vidyasankar Sundaresan, Ms. Vidya Sudhakar, Dr. K. N. Raghavan, Mr. T. V. Lakshminarayanan, Mr.Prasad Kalyanasundaram, Mr. Shailesh Ramamurthy, Dr. L. Ramakrishnan, Mr. N. Narayanan, Mr. Prasanna Venkatesh. vii

7 Acknowledgements viii The following volunteers worked on the English Translation of the vāggeyakāra caritram and our sincere thanks go to them all for their enthusiastic efforts. Ms. Jyothsna, Mr. K. A. Chandrasekhara, Mr. Govindarajan Kothandaraman, Ms. Swapna Eleswarapu, Mr. Surya Kiran, Mr. Kowshika Ramaprasad, Mr. Dhananjay Dendukuri, Dr. G. S. Murthy. Finally, this PDF file was generated using the free software programs that belong to the TEX and friends (LATEX 2ε, AMSLATEX, pdflatex, hyperref, etc). It is a pleasure to acknowledge our gratitude to the authors of these versatile and useful open source packages. P. P. Narayanaswami Vidya Jayaraman

8 Introduction The Saṅgīta Saṁpradāya Pradarśini (SSP) has engaged my attention for the past six decades and the contents of the work, both the theoretical and practical aspects have never ceased to amaze me. The first part of the English translation of the Saṅgīta Lakṣaṇa Prācīna Paddhati was done by my great master, Brahmaśrī P. K. Rajagopala Iyer, and published in the Journal of The Music Academy, Madras in This English translation by my guru was based on the Tamil version of the work done by the late Saṅgīta Kalā Ācārya, T. S. Parthasarathy. I was honored that this work was subsequently entrusted to me in 1990, and continued the work along the same lines, adding observations and comments to highlight the work. This work did not progress further owing to various reasons. Today, I feel privileged to have an opportunity to translate this work and to write this introduction to Volume I of the English edition of the Saṅgīta Saṁpradāya Pradarśini. Subbarāma Dīkṣita s Saṅgīta Saṁpradāya Pradarśini is a monumental work and a repository of invaluable information on the lakṣaṇa, and lakṣya aspects of music. The contribution of the text to the practical side of the art form is immense. From a Lakṣaṇa perspective, Subbarāma Dīkṣita s work is more a digest than a text. Subbarāma Dīkṣita divides the theme under two broad chapters: Saṅgīta Prācīna Paddhati, and the Saṅgīta Lakṣaṇa Saṅgraha. In Saṅgīta Prācīna Paddhati, Subbarāma Dīkṣita provides a consolidated view of the history of Saṅgīta śāstra, emphasizing all the important aspects. He has taken care not to press forth his own thoughts and ideas, which perhaps would have supplemented the theme well. In the lakṣaṇa saṅgraha, he gives a brief elucidation of all the topics quoting the musical preceptors and ancestors profusely. In the treatment of the śuddha vikṙta svaras, Subbarāma Dīkṣita, like Vēṅkaṭamakhin, deserves all praise. Vēṅkaṭamakhin proclaims that the vikṙta svaras are only five sādhāraṇa gāndhāra, antara gāndhāra, varāḷi madhyama, kaiśiki niṣāda, and kākali niṣāda. While accepting Vēṅkaṭamakhin s principles, Subbarāma Dīkṣita went one step further. He not only recognized sādhāraṇa gāndhāra as a de facto vikṙta svara, he also had the insight to include ṣaṭśruti ṙṣabha as a vikṙta svara. Even though they occupy the same svarasthāna, they are two distinct notes from the standpoint of their occurrence in different rāgas. This was Subbarāma Dīkṣita s reasoning behind mentioning the nine vikṙta svaras. All the treatise writers on music uniformly profess that their works are written with the sole and avowed purpose of setting to rest and bringing about a compromise between the conflicting views on the lakṣaṇa, and lakṣya aspects of music. It may be pointed out that in general their objectives are not met in full. Subbarāma Dīkṣita too was no exception to such a phenomenon. In a lot of instances, he gives useful pointers but does not elaborate further citing exigencies of space. He could have supported his statements with illustrations of contemporaneous value. For example, the treatment of kīrtana, pada, rāgamālika, jāvaḷi, tillānā and the pallavi krama could have been more elaborate with substantial punctuations to contribute to the overall value. Occasionally, there is some ambiguous treatment of the theme and we are not able to fully comprehend what is implied. This can very well be attributed to the passage of time. It must also be noted that the years leading up to the publication of Saṅgīta Saṁpradāya Pradarśini marked a time when the knowledge of the original treatises was slowly disappearing. Wherever such ambiguities were encountered in the text, a true translation of the text has been provided along with annotations as deemed

9 Introduction x appropriate. Thus, in addition to being a faithful translation of the original text, supplemental information by way of critical commentary has been included to enhance the understanding of the various topics in the work. In effect, it is a compilation of reflections on this ground breaking text contemplated over the span of several decades and brought to fruition in the year Chennai, May 01, 2010 PROFESSOR. S. R. JANAKIRAMAN

10 FOREWORD Having learnt the arts of Sanskrit, Telugu, and music, due to the benevolence of the elder Mahārāja (whose history occurs as the 6th in the history of Composers or Saṅgīta Sāhitya Vidvāns) and having qualified for the court of the Mahārāja (whose history occurs as the 68th) due to his kindness, and having learnt the intricacies of Telugu grammar under Tañjāvūr Rāmayyar, and attained the name of a musician, and having learnt the staff notation under the grace of the Mahārājā (whose history occurs as the 69th) and having translated the Telugu Mahābhārata Padya Kāvya in Tamil with the permission of the Mahārājā (whose biography occurs as the 0th) and under the orders of the Younger Mahārāja, the brother of the aforementioned Mahārājā, I set to tune, and added ciṭṭa svaras to the padas in the Tamil Play vaḷḷi bhāratam. As per the request of Cinnasvāmi Mudaliyār, and the orders of the present Mahārājā (whose biography is the 1st in my history of composers), the printing of this Saṅgīta Saṁpradāya Pradarśini at the Vidyā Vilāsini Press, was accomplished with financial grant of the Mahārājā and the efforts of his minister Śrī Rao Bahadur K. Jegannātha Ceṭṭiyār, who is an expert at languages including Telugu and a connoisseur and adept at the arts of music and lyrics. I am grateful to the Mahārājā who taught me the arts and patronized me and granted me fame through this Saṅgīta Saṁpradāya Pradarśini. The kṙtis of Tyāgarāja who was praised as an aṁśa of Sage Nārada, the kṙtis of Śyāma Śāstri, and the padas of Kṣētrayya, would be published shortly with tāḷa and gamaka symbols through munificence of the Mahārājā. I shall remember with gratitude Śrī S. Rādhākṙṣṇa Ayyar, B.A., F.M.U, the Principal of the Pudukkōṭṭai Mahārāja College, who helped me in researching the lakṣaṇa texts like the Ratnākara, with reference to the publication of the Saṅgīta Saṁpradāya Pradarśini. Subbarāma Dīkṣita 1

11 K DEDICATION THIS BOOK IS MOST RESPECTFULLY DEDICATED To His Highness The Maharajah of Ettayapuram As a token of the Esteem and Regards BY B. SUBBARAMA DIKSHITAR K K K

12 śrī VIṢAYA SŪCIKĀ (AUTHOR S BRIEF TABLE OF CONTENTS) 1. Index of kīrtanas alphabetical list 2. Vāggēyakāra Caritra Biography of Composers 3. Saṅgīta Lakṣaṇa Prācīna Paddhati (The theory of Ancient Music) 4. Saṅgīta Lakṣaṇa Saṅgraha (Summary of the theory of Music) 5. Detailed Table of Rāgāṅgōpāṅga bhāṣāṅga mūrccana 6. Gamaka saṁjñā niyamavidhāna vivaraṇa Rules of gamaka symbols. Tāḷa kāla pramāṇa saṁjñā niyamavidhāna vivaraṇa Rules of the signs of time-measures of tāḷa 8. Instructions for easily identifying the (printed) mistakes 9. Saṅgīta Saṁpradāya Pradarśini 10. Rāgāṅgōpāṅga bhāṣāṅga rāga lakṣaṇa, lakṣya. Gīta, Kīrtana, Sañcāra, etc 11. Saṅgīta Saṁpradāya Pradarśini Anubandham A Rāgamālikās 12. Anubandham B Compositions of Various Composers

13 PREFACES PREFACE (in English) I have been asked by Rao Bahadur K. Jaggannadhum Chetti Garu of Ettayapuram to write a few words of introduction to this great work, and I do so with great pleasure, as it gives me an opportunity to express on behalf of the public, the deep debt of gratitude which it owes to the persons to whose exertions and munificence, the publication of this valuable work is due. They are the late lamented Mr. A. M. Chinnasami Mudaliar, M. A., whose labours and sacrifices for preserving in a permanent form what is still left of our national Music are so well known to the public and with whom the idea of bringing out a work like the present one originated, the Rajah of Ettayapuram, who ungrudgingly placed the services of his Court Sangita Vidvan Brahma Sri Subbarama Dikshitar at the disposal of Mr. Chinnasami Mudaliar and who, with enlightened liberality, has borne the entire cost of the establishment employed for the purpose of preparing this work for the press and of getting it printed, and lastly Brahma Sri Subbarama Dikshitar who, though unwilling at first to part with what he naturally regarded as a precious heirloom to be jealously guarded and retained in his family, yielded in the end to the wishes of his master and patron, the Rajah and has given the world what was hitherto his exclusive possession, having laboured hard for more than four years to bring this work to a successful conclusion. To what extent we are indebted to the gentlemen named above could be realized if it be remembered that Brahma Sri Subbarama Dikshitar is now an old gentleman and that his great learning and knowledge and the stores of Music literature in his possession would, in the course of nature, have been lost to the world in a few years if this work had not been published now. To me and other friends of the late Mr. Chinnasamy Mudaliar it is a matter of deep regret that he did not live to see his heart s wish accomplished. It would be presumption on my part to express an opinion on a work written by one of the greatest living authorities on South Indian Music. That a treatise like this written by such an accomplished scholar, composer and Vainika as Brahma Sri Subbarama Dikshitar is likely to be of great help to students of Music requires no testimony from a person like me. There is only one thing more I wish to say, and that is that it seems not unreasonable to hope that the Rajah of Ettayapuram who, by getting this work published, has ever 4

14 References 15 [SSP (1904) ] Saṅgīta Saṁpradāya Pradarśini Part I and II, of Subbarāma Dīkṣita, Vidya Vilasini Press, Ettayapuram Samasthanam, Ettayapuram, (1904) [Subbarāma Dīkṣita (1904) ] Saṅgīta Saṁpradāya Pradarśini Part I and II, of Subbarāma Dīkṣita, Vidya Vilasini Press, Ettayapuram Samasthanam, Ettayapuram, (1904) [Subbarāma Dīkṣita (1905) ] Prathamābhyāsa pustakamu of Subbarāma Dīkṣita, Vidya Vilasini Press, Ettayapuram Samasthanam, Ettayapuram, (1905) [Janakiraman (19) ] Prof. S. R. Janakiraman, The Significance of the Division of Pallavi, Anupallavi, and Caraṇa in Musical Composition, pp Journal of the Music Academy Madras XLVIII (19) [Janakiraman (199) ] Prof. S. R. Janakiraman, The Dēśi Sūḷādi of Annamācārya, pp , Journal of the Music Academy Madras (199) [Raghavan (1941a) ] Dr. V. Raghavan, Vēṅkaṭamakhin and the 2 Mēḷas, pp 6 9, Journal of the Music Academy Madras, XII (1941) [Raghavan (1941b) ] Dr. V. Raghavan, The So-called Akalaṅka, or the Saṅgīta Sāra Saṅgrahamu, pp 38 42, Journal of the Music Academy Madras, XII (1941) [Ramanathan (1983) ] Dr. N. Ramanathan, Vādi, samvādi, vivādi, and anuvādi svaras, Journal of the Music Academy, Madras, Vol. LIV, pp (1983) [Ramanathan (2003) ] Dr. N. Ramanathan, Musical forms in the Saṅgītaratnākara, Sampradaya, Madras (2003) [AMSarma Pers. Comm. ] Akella Mallikarjuna Sarma, Personal Communication 2010 [Seetha (1981) ] Dr. S. Seetha, Tanjore as a seat of Music, University of Madras, Madras (1981) II. Bibliography P. K. Rajagopala Iyer, Saṅgīta Lakṣaṇa Prācīna Paddhati, pp , Journal of the Music Academy Madras, LX (1989) Prof. P. Sambamoorthy, South Indian Music, Vols 1 5 Prof. S. R. Janakiraman, Lakṣaṇa Saṅgraha, pp , Journal of the Music Academy Madras, LXI (1990) Prof. S. R. Janakiraman, Essentials of Musicology in South Indian Music, The Indian Music Publishing House (2008) Dr. N. Ramanathan, Tāḷa daśa prāṇas, ( Hema Ramanathan, Abhinavabhārati of Abhinavagupta, Transl. ( Girija Easwaran, Tāḷa daśa prāṇas in Texts (

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16 II SAṄGĪTA LAKṢAṆA PRĀCĪNA PADDHATI brahmagranthijamārutānugatinā cittēnahṙtpaṅkajē sūrīṇāmanuranjakaḣ śrutipadam yō yaṁ svayaṁ rājatē yasmādgrāmavibhāgavarṇaracanālaṅkārajātikramō vandē nādatanuṁ tamuddhurajagadgītaṁ mudē śaṅkaram sadāśiva śiva brahma bharataḣ kaśyapō muniḣ mataṅgō yāṣṭikō durgā śaktiḣ śārdūlakōhalau viśākhilō dattilaśca kambalō śvatarastathā vāyurviśvāvasū raṁbhārjunanāradatuṁbarāḣ āñjanēyō mātṙguptō rāvaṇō nandikeśvaraḣ svātirguṇō bindurājaḣ kṣētrarājaśca rāhalaḣ rudraṭo nānyabhūpālō bhōjabhūvallabhastathā paramardī ca somēśō jagadēkamahīpatiḣ vyākhyātārō bhāratīyē lōllaṭōdbhaṭaśaṅkukāḣ bhadrābhinavaguptaśca śrīmatkīrtidharō paraḣ anyē ca bahavaḣ pūrve yē saṅgītaviśāradāḣ The names mentioned in this ślōka, beginning with Lord Sadāśiva, and listing the other great creators of the science of music and the teachers of the past is stated in the Saṅgītaratnākara. There are several other authorities, who have not been mentioned here. nādōpāsanayā dēvā brahmā viṣṇu mahēśvarāḣ bhavantyupāsitā nūnaṁ yasmādētē tadātmakāḣ (Saṅgītaratnākara) Through the worship of nāda are worshipped, the deities Brahma, Viṣṇu, and Śiva, since they are verily the embodiment of nāda. nādēna vyajyatē varṇaḣ padaṁ varṇāt padādvacaḣ vacasō vyavahārō yaṁ nādādhīnamatō jagat Śārṅgadēva, and other luminaries opine that, from nāda (absolute sound) emanates akṣara (letters of the alphabet), and from akṣara emanates śabda (sound or word). From śabda emanates vyavahāra (thought); 50

17 Saṅgīta Lakṣaṇa Prācīna Paddhati 51 hence the entire world is pervaded by nāda. Before talking about the science of music in vogue, we explain and consolidate here, based on our understanding of the musical traditions of the past, those contents which have not been mentioned in the Section, Lakṣaṇa Saṅgraha. The nāda that arises in the human body from the hṙdaya (the region of the heart), goes up to the kaṇṭha (the throat), and then to the śiras (the head), taking shape through the three sthāyi s (octaves), namely the tāra, mandra, and madhya, and thus manifests itself. This nāda gets divided into twenty two śruti s (microtones) in each sthāyi. From the various groups of śruti s are formed the seven śuddha svaras, i.e., ṣaḍja, ṙṣabha, gāndhāra, madhyama, pañcama, dhaivata, and niṣāda. Their svara mnemonics or symbols are: sa, ri, ga, ma, pa dha, ni, and they respectively contain 4, 3, 2, 4, 4, 3, 2 śrutis. These are known as śuddha or prakṙti svaras. COMMENTARY: hm tt h k jк r к dð шk TRANSLATION: For delight, do I worship that Lord Śiva, the embodiment of nāda, pre-eminently adored by the entire world, the source of order inherent in the division of domains, the organisation of castes and the distinction of species, who being manifest in the heart-lotus of yōgins as ōṁkāra in the contemplation of mind united to the movement of life-force originating out of the Brahmagranthi, shines in its own lustre. Interpretation with reference to music: I delight in paying homage to gīta, the embodiment of nāda, the cause of comfort in the restless world, the source of the system comprising the division of grāmās, the composition of varṇas, the alaṅkāras and the jātis, the self-manifest locus of śrutis that delights the masters of music in the lower register, aided by the mind attuned to the movement of prāṇā originating from the root of the navel. This is the opening verse of the Saṅgītaratnākara. [SR ] [Śārṅgadēva / Transl. Shringy (198)] Brahmagranthi is the nerve center at the conjunction of the iḍa, and piṅgaḷa, in the human body below the navel. ш ш hm к g ßttк ш kt ш к ш х tt c к v v a j pt к v c a ll ш к lla da шk к tttt ptc r к a g ш

18 Saṅgīta Lakṣaṇa Prācīna Paddhati 52 TRANSLATION: Sadāśiva, Brahma, sages Bharata and Kāśyapa, Mataṅga, Yāṣṭika, Durga, Śakti śārdūla, Kōhala, Viśākhila, Dattila, Kaṁbaḷa, Aśvatara, Vāyu, Viśvāvasu, Raṁbha, Arjuna, Nārada, and Tuṁburu, Āñjanēya, Mātṙgupta, Rāvaṇa, Nandikēśvara, Svātigaṇa, Bindurāja, Kṣētrarāja, Rāhala, Rudraṭa,King Bhōja,Somēśa the vanquisher of foes, King Jagadēka and the interpreters of Bharata such as Lōllaṭa, Udbhaṭa, Śaṅkuka, Abhinavagupta, the auspicious Kīrtidhara, and others were the ancient authorities of music. [SR b] hm v к TRANSLATION: Indeed through the worship of nāda are worshipped gods (like) Brahma, Viṣṇu and Śiva, since essentially they are one with it. [SR 1.3.2] TRANSLATION: Nāda manifests the letters (of alphabet), letters constitute the word, and words make a sentence. So the entire business of life is carried on through language, and therefore the whole world is based on nāda. [SR 1.2.2] These śuddha svaras, also known as prakṙti svaras, with the self-ordained śrutis 4, 3, 2, 4, 4, 3, 2, were found in the Ṣaḍja grāma, the primordial scale-type of Indian music. 2. Vikṙti Svaras Śārṅgadēva s school: The self-ordained śruti, from out of which a svara emanates, is known as the niyata śruti for that svara. 1. A śuddha svara is called a vikṙta svara, when it is in its niyata śruti and its śruti is reduced or increased. Example: 1. When śuddha ṣaḍja from out its four śrutis gives two śrutis, to kākali niṣāda located on its second śruti position, yet remaining in its niyata śruti, because of the reduction in the number of śrutis, it becomes the vikṙta svara, named acyuta ṣaḍja. 2. When the śuddha ṣaḍja slips down from its niyata śruti sthāna by a śruti, thus becoming the third śruti sthāna cyuta ṣaḍja, the śuddha ṙṣabha now also acquires the fourth śruti of ṣaḍja, and becomes a vikṙti svara, with the name catuśruti ṙṣabha.

19 Saṅgīta Lakṣaṇa Prācīna Paddhati When a śuddha svara moves from its niyata śruti to another śruti, then that too becomes a vikṙta svara. Example: When śuddha ṣaḍja leaves its niyata śruti, and moves to the third śruti sthāna, it takes on the name ṣaḍja, and becomes the vikṙta svara, cyuta ṣaḍja. The vikṙta svaras formed by this process are twelve in number. They are: 1. kaiśiki niṣāda 2. kākaḷi niṣāda 3. cyuta ṣaḍja 4. acyuta ṣaḍja 5. catuśruti ṙṣabha 6. sādhāraṇa gāndhāra. antara gāndhāra 8. cyuta madhyama 9. acyuta madhyama 10. triśruti pañcama 11. kaiśiki pañcama 12. catuśruti dhaivata Thus the seven śuddha svaras and twelve vikṙta svaras are formed from the twenty two śrutis on fourteen śrutisthānas. COMMENTARY: Example: 1.1. When śuddha ṣaḍja gives two śruti s to niṣāda, the latter becomes kākali niṣāda, and the interval between kākali niṣāda, and śuddha ṣaḍja becomes two. Thus, ṣaḍja becomes a vikṙta svara, and is named acyuta ṣaḍja. Since it has not moved from its original position, it is acyuta ṣaḍja When the ṣaḍja slips down from its fourth śruti to the third śruti sthāna (cyuta = fallen), the interval between the cyuta ṣaḍja, and śuddha ṙṣabha gets enlarged by one śruti, and hence it is called catuśruti ṙṣabha. This is the only vikṙta of ṙṣabha. Thus, we get the first clue for the existence of the note, catuśruti ṙṣabha here. Example 2. When the śuddha niṣāda goes up and becomes kaiśiki niṣāda, the ṣaḍja slips down from its original position, and becomes cyuta ṣaḍja. On the same lines, the śuddha madhyama (niyata madhyama) also gets its two vikṙta counterparts when the śuddha gāndhāra goes up to sādhāraṇa gāndhāra, and antara gāndhāra (the first two śrutis of madhyama). 3. Sōmanātha s school: The śuddha svaras are seven, and the vikṙta svaras are seven in number. These fourteen svaras are obtained from fourteen svarasthānas. In Sōmanātha s school, five vikṙta svaras in Śārṅgadēva s school are omitted. These are: acyuta ṣaḍja, catuśruti ṙṣabha, acyuta madhyama, kaiśiki pañcama, catuśruti dhaivata. The remaining vikṙta svaras are renamed as follows:

20 Saṅgīta Lakṣaṇa Prācīna Paddhati 54 cyuta ṣaḍja mṙdu ṣaḍja cyuta madhyama mṙdu madhyama triśruti pãncama mṙdu pañcama The details of the śuddha/prakṙti, and vikṙti svaras in these two schools, the śrutis they occur, and their names are given in the following table.

21 TABLE OF ŚUDDHA VIKṘTA SVARAS Sōmanātha s school Śārṅgadēva s school vikṙta svaras and śrutis śuddha svaras and śrutis śuddha svaras and śrutis vikṙta svaras and śrutis 1 kaiśiki niṣāda (3) kaiśiki niṣāda (3) 2 kākaḷi niṣāda (4) kākaḷi niṣāda (4) 3 mṙdu ṣaḍja (2) cyuta ṣaḍja (4) sa 4 4 sa 4 acyuta ṣaḍja (2) 5 6 ri 3 ri 3 8 catuśruti ṙṣabha (4) ga 2 9 ga 2 10 sādhāraṇa gāndhāra (3) sādhāraṇa gāndhāra (3) 11 antara gāndhāra (4) antara gāndhāra (4) 12 mṙdu madhyama (2) cyuta madhyama (2) ma 4 13 ma 4 acyuta madhyama (2) mṙdu pañcama (3) 16 pa 4 1 pa dha 3 20 dha 3 21 ni 2 22 ni 2 { triśruti pañcama kaiśiki pañcama (3) (4) catuśruti dhaivata (4)

22 Saṅgīta Lakṣaṇa Prācīna Paddhati 56 COMMENTARY: In addition, Sōmanātha mentions eight more vikṙta svaras: tīvratama dhaivata, tīvratama gāndhāra, tīvratama madhyama, tīvra dhaivata, tīvratara dhaivata, tīvra ṙṣabha, tīvratara ṙṣabha, tīvratama ṙṣabha. [3]. The details of the śuddha and vikṙti svaras in current practice [4]. The details concerning the three grāmas [5]. The vādi samvādi lakṣaṇas Refer (the description of the) above in the section: Lakṣana Saṅgraha. [6]. Tāna Tāna is the process of prastāra or expansion of svara group patterns. This is classified under two heads, śuddha tāna, and kūṭa tāna. [1]. Śuddha Tāna Śuddha tāna uses the svaras in regular (natural) order. These are of auḍava, ṣāḍava and saṁpūrṇa patterns. [2]. Kūṭa Tāna In Kūṭa tāna, svaras are combined in non-consecutive, or irregular ways, and deviate from their regular order of ascent and descent. These are of arcika, gāthika, sāmika, svarāntara, auḍava, ṣāḍava, and saṁpūrṇa patterns and their combinations. Their names, numbers, and the benefits accrued by singing them are not mentioned, due to exigencies of space. These are explained in detail in texts like the Saṅgītaratnākara. COMMENTARY: Ṣāḍava and auḍava varieties of śuddha tānas are = 84 in number, and are worked out in detail in the Saṅgītaratnākara of Śārṅgadēva. This number of eighty four tānas is also referred to in literature such as the pūrāṇas, and even in the Pañcatantra. Kūṭa tānas : to be derived as one from one, two from two, six from three svaras, etc., are worked out in detail in the appendix of the svarāgatādhyāya of [Śārṅgadēva / Ed. Subrahmanya Sastri (1943)] []. Varṇa Please refer to the Lakṣaṇa Saṅgraha, for details regarding varṇa, which is gānakriya. Adhering to the system of varṇa, Śārṅgadēva has mentioned sixty three alaṅkāras, with names beginning with prasanna. Bharata says that without alaṅkāras (beautific musical ornamentation), singing will not shine. śaśinā rahitēva niśā vijalēva nadī latā vipuṣpēṇa avibhūṣitēva kāntā gītiralaṅkārahīnasyāt