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An exclusive section called the 狈腻峁瓂补 varga (I.6) deals with aspects of art, especially dramaturgy. Music is an important constituent of dramaturgy and 础尘补谤补办辞艣补 rightly begins this section describing all the important aspects of music.

(a) Svaras (I. 6. 1; p. 48)鈥�

[The seven notes:]

础尘补谤补办辞艣补 gives the seven notes^[1] and 碍峁Ｄ玶补蝉惫腻尘颈苍 adds the general quote for the origin of these notes as given in texts on music and derives a few with special remarks.

鈥淭he cry of the peacock is 峁�a岣峧补 (sa); the mowing of the cow 峁涐梗补产丑补(ri); the b leat of the goat, gandharva (ga); the call of the horn bull, madhyama (ma); the song of the cuckoo in spring, 辫补帽肠补尘补 (pa); the neighing of a horse, daivata (da); and the trumpeting of elephant, 苍颈峁Ｄ乨补 (ni):

测补诲腻丑耻岣モ赌�
峁�a岣峧补峁� 尘补测奴谤腻 bruvate g膩vastv峁涐梗补产丑补bh膩峁�i峁嘺岣� |
腻箩腻惫颈办补峁� tu 驳腻苍诲丑腻谤补峁� 办谤辞帽肠补岣� kva峁嘺ti madhyamam |
辫耻峁�p补蝉腻诲丑腻谤补峁噀 办腻濒别 辫颈办补岣� 办奴箩补迟颈 辫补帽肠补尘补m |
诲丑补颈惫补迟补峁� 丑别峁�a迟别 惫腻箩墨 苍颈峁Ｄ乨补峁� 产峁涐箖丑补迟别 驳补箩补岣� |

The special observations of 碍峁Ｄ玶补蝉惫腻尘颈苍 on two of these notes are:

狈颈峁Ｄ乨补^[2] 鈥斺�渋n which the 谤腻驳补 is in tune鈥� 碍峁Ｄ玶补蝉惫腻尘颈苍 adds that it is also read as 苍颈峁�a诲补鈥�

na峁Ｄ玠atyasmin r膩go 苍颈峁Ｄ乨补岣� ni峁�ado'pi |

峁�a岣峧补峁�鈥摪�峁Ｄ玶补蝉惫腻尘颈苍 remarks that 峁�a岣峧补 is denoted so since it comes in contact with six places of human body, viz., nose, throat, chest, the palate, tongue and teeth鈥�

峁�a岣峛丑测辞 箩腻迟补岣� 峁�a岣峧补岣� 测补诲腻丑耻岣モ赌�
苍腻蝉腻峁� 办补峁囜弓丑补尘耻谤补蝉迟腻濒耻 箩颈丑惫腻峁� dant膩峁兣沜a sa峁僺p峁浥沘n |
峁�a岣峛hya岣� sa峁僯膩yate yasm膩ttasm膩t 峁�a岣峧补 iti sm峁泃a岣� ||

碍峁Ｄ玶补蝉惫腻尘颈苍 adds that the 蝉惫补谤腻诲丑腻谤补 for all these svaras are the two kinds of lutes鈥擠膩rav墨 and G膩trav墨峁嚹�.

He also highlights that the drums and others are only accompaniments and hence not mentioned as the base for the svaras鈥�

d膩rav墨 g膩trav墨峁嚹� ca dve v墨峁噀 蝉惫补谤腻诲丑腻谤补u va峁兣沘muraj膩dayo'nukara峁嘺m膩tre峁噀ti nokt膩岣� |

After listing the seven notes, 础尘补谤补办辞艣补 defines the various tones (like 办腻办补濒墨) which are derived by 碍峁Ｄ玶补蝉惫腻尘颈苍 and no special information is added.

(b) Gr膩ma岣� (III. 3. 140; p. 303)鈥�

[Basic scales:]

础尘补谤补办辞艣补 mentions that the homonym, 驳谤腻尘补岣� is used in the sense of multitude and 碍峁Ｄ玶补蝉惫腻尘颈苍 adds that this homonym also signifies octave in music.

He quotes from 笔补帽肠补迟补苍迟谤补 according to which鈥搕here are seven notes (svaras), three basic scales (驳谤腻尘补) and 21 model scales (尘奴谤肠丑补苍补蝉)鈥�

膩pi 艣abd膩dvi峁�ayaikade艣e 峁�a岣峧补gr膩m膩dau ca 测补诲腻丑耻岣モ赌�
sapta 蝉惫补谤腻strayo gr膩m膩 m奴rcchan膩stvekavi峁兣沘ti岣� |

The three 驳谤腻尘补s are 峁�a岣峧补, 驳腻苍诲丑腻谤补 and madhyama.

Footnotes and references:

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[1]:

苍颈峁Ｄ乨补r峁�abha 驳腻苍诲丑腻谤补 峁�a岣峧补 madhyama dhaivat膩: |
辫补帽肠补尘补艣cetyam墨 sapta 迟补苍迟谤墨 办补峁囜弓丑辞迟迟丑颈迟腻 蝉惫补谤腻岣� ||

[2]:

It is interesting to note the comments of Bh膩nuji and Li峁単ayas奴ri in this context where the former says it is the union of mind in (this) 苍颈峁Ｄ乨补鈥攏i峁Ｄ玠ati mano 膩smin and the latter as the confluence of svaras in this note鈥�苍颈峁Ｄ玠补苍迟测补迟谤补 蝉惫补谤腻 iti 苍颈峁Ｄ乨补: | Vol. I, p. 71, ALRC.