Illustration - Sāgāgapā. Pāmapāmagāmāmā rīgasāsā sāsamāgapāpā. Pādhanidhā. Mapāpāmapāmāmāmagāsa sīvidhānisīsī sadhānīgāvīgāmāpāganisā nīgārīnisāsā-. Nidhāpāmāgārīgāsā . Mānīdhanīdhāsā. Chevāţī [iv] Having ṣadja as its nyāsa, niṣāda as its amsa⁵, being weak in pancama⁹, there being the concert of ṣadja-gāndhāra and similarly ṣadja-madhyama, this bhāṣā should be known as hexatonic⁶. Mālavesarī bears the name mūlā. Illustration - Nīdhāninī sarisāsāgāmāgādhārisamāmāsā gāsārisāsāgadharisā. Gāmādhāmā māgādhāgā. Sāsāsā. Mālavesarī [v] Gūrjarī is well- known as a deśa-bhāṣā (regional melodic variety)²¹; it is immensely lustrous, has niṣāda as amśa , ṛṣabha and ṣaḍja as its concluding notes¹¹, and is complete¹². The concert¹⁷ of sadja-madhyama and similarly pañcama-ṛṣabha should be known there. Illustration - Nisāsānipāpānīdhānīnī sānīsāsā. Sārīsāriri. Sāmāgā. Riri. Nīnīnī. Pāpāpā. Nidhāni. Nigāsā. Gūrjarī [vi] This bhāṣā, saurāṣṭrī bearing the name deśī (regional) has niṣāda as its amsa¹³, sadja as its concluding note¹⁴, is always complete¹⁵ and is sung by people³. Illustration - Ninidhāninisāsā nirigāsāsā sāgāgāsā dhaninini dhāmāmānini ninidhāsāsā gāsāsāgāsāsadhāni dhānidhāmāmāmārigāsāsā gāsanīsāsāsā. Saurāstrī [vii]