mā mā mā mā mā mā mā mā dhā nī pā mapa dhā nī pā pā mā pā mā dhani pā pā pā pā rî gā mā pā pā pā mā pā rī gā mā pā pā pā mā pā pā pā pā pā pā pā pā pā rī gā sā sā rī gā gā gā gã gã pã dhama dhã nidha pã pã mā pā mā pariga gā gā gā gā Thus ends raktagāndhārī. In kaiśikī, the svaras other than ṛṣabha are aṁśas.² When ni and dha are the amsas, then pancama alone is the nyāsa; otherwise the svaras with two śrutis (gāndhāra-niṣāda) are known to be nyāsas.⁴ Others, on the other hand, know niṣāda, gāndhāra and pañcama as nyāsas when niṣāda and dhaivata are amsas.⁸ The hexatonic and pentatonic forms are known to come into being with the omission of rṣabha and rṣabha-dhaivata. Rṣabha is sparse, there is the abundance of niṣāda and pañcama. The amsas have mutual concert.¹² Pañcama and dhaivata are averse to the hexatonic and pentatonic forms respectively. (The tāla) pañcapāṇi and the like are as in ṣāḍjī.¹¹⁷ The mūrchanā beginning with gāndhāra obtains.⁵ The application is (prescribed) in the dhruvā pertaining to the fifth act.⁶ Gāndhāra, pancama and niṣāda are nyāsas in this (jāti). Six svaras excepting rṣabha or seven svaras are apanyāsas. The prastāra is thus -³ pā dhani pā dhani gā gā gā gā pā pā mā nidha nidha pā pā pā