the samvādī of the amsa. It becomes ṣāḍavā with niṣāda when (any one of) madhyama, pañcama and dhaivata is the amsa.⁶ When sadji is sung as suddha then upon sadja being the amsa, there is abundance of the remaining svaras. Upon⁵⁷ the profusion of sadja and pañcama, there are thirty amsas (?). With six, it (?) becomes fourteen-fold. Gāndhāra is nineteen-fold (?) and madhyama is fourteen-fold (?) - Taken together seven svaras become hundred and twenty-eight (?), suffice to say that. Now out of the ten characteristics he (the author) shows the respective ones of each jāti.- Ṣādjī that pertains to ṣadja-grāma has five anisas and grahas. That is thus- ṣadja, gāndhāra, madhyama, pañcama, dhaivata are grahas and amsas. Gāndhāra and pañcama are the two apanyāsas.³ It is ṣāḍavā by being devoid of niṣāda. Ṣadja is the nyāsa. There is sangati (concert) between ṣadja and gāndhāra as well as ṣadja and dhaivata. Gāndhāra is very profuse, in spite of its being vivādī.⁵ Sangatī⁵⁸ means 'reaching out to each other', i.e. to and fro movement between the two svaras concerned.² The movement in tāra (high register) extends up to five svaras.¹² The movement in mandra (lower register) extends upto şadja (the lower octave of the amsa).¹³ The state of auduvita does not obtain at all.⁸ It is complete and hexatonic.⁹ When it is sung in its complete form, then the sparseness of ṛṣabha-pañcama and niṣāda-pañcama should be brought about.¹⁰ Why? - "( The svara) without which the incomplete state (of a given jāti) comes about, that (svara) is sparse in that (jāti, in its complete state)." [Datti 61 ab]¹ - Because of the above statement.