Out of them, gāndhāra, ṣadja, madhyama, pañcama and niṣāda are grahas, the same are amsas of gandhari. The tara extends upto five svaras. The mandra , extends upto the nyāsa or upto the svara next to it. The sādava state is devoid of rṣabha, the auduvita state is devoid of ṛṣabha, dhaivata.⁴ In the complete state there is sparseness of rṣabha-dhaivata, and abundance of the remaining ones. On account of being a svara-jāti⁷²i.e. a jāti bearing the name of svara, gāndhāra is the nyāsa⁷. Ṣadja, pañcama are the two apanyāsas and there is sangati (concert or to and fro movement) between dhaivata and ṛṣabha⁸. That is thus – when <math>g\bar{a}ndh\bar{a}r\bar{i}</math> is sung as complete then <math>m\bar{a}</math> - <math>dh\bar{a}</math> - <math>ri</math> - <math>g\bar{a}^{73}</math> is the prayoga (performance). Thus is the performance. When it is sung with the omission of rṣabha then while touching (lit. entering) the adhara 74 (lit. lower, but higher in pitch)² mā-dhā-dhā-gā, thus is the performance. When it is sung in its pentatonic form then while touching the uttara 75 (lower svara)³ mā-gā dhā-thus is the performance. Mā-pa-ri-dhā is never to be performed. This is eleven-fold. There are eleven ainsas - there is one in the suddhā state, five in the vikṛtā complete state, four are hexatonic (and) one is pentatonic.⁶ The mūrchanā beginning with dhaivata obtains here¹³. Caccatpuța is the tālain the ekakalaform. In citra mārga, there is māgadhī (gītī), in dvikala vārtika (mārga) there is sambhāvitā (gīti), in catuşkala dakṣiṇa (mārga), there is pṛthulā (gīti), karuṇa (pathos) is the rasa¹⁴. It is used in the singing of dhruvā in the third act of a drama.⁹ Ṣadja, madhyama, pañcama, gândhāra and niṣāda are the grahasand aṁśas of raktagāndhārī. Tāra extends up to five svaras (from the amśa), mandra extends up to the nyāsa or the svara next to it. The hexatonic form is devoid of rṣabha and the pentatonic one is devoid of rṣabha-dhaivata. There is the paucity of rṣabha and dhaivata in the complete form. The remaining (svaras) have abundance. On account of niṣāda being the amśa, its abundance is indicated. Its non-abundance comes about on account of the stated prescription. Dhaivata being non-aniśa, its sparseness is indicated, its