Illustration - Dhāsādhāgā sānisāmāni. Mānidhāmāgā. Gāmādhāni. Dhāmāmāgā. Ninidhādhā. Lalitā [ix] Niṣādavatikā²⁵ is said to be adorned with dhaivata as the initial and concluding note, is a complete antara-bhāṣā⁸ and by others it is sung as being devoid of ri (ṛṣabha)¹.⁵ Illustration - Dhāmāgāpā. Pāsāpāpā. Gamāmāpāni dhāpādhādhādhā. Pāmādhāgāgā. Sanidhādhāpāpā. Dhāsāgamāgāpa nīdhādhānīsari sāmāpānidhāpā māmāgāpa sadhānidhādhā. Niṣāḍavatī [x] Tumburu²⁶ is combined with dhaivata as the initial and concluding note, is known to be hexatonic, is devoid of rşabha¹¹ (and) is sung by the expounders of Veda²²⁷ Illustration - Dhānisāgā gāmādhāpā māgani sanīdhādhā. Tumburu [xi] Gāndhāralalitā is complete¹², has madhyama as amśa and dhaivata as the concluding note, is sung in the rituals associated with manes³²⁸ (and) has concert between şadja-dhaivata. Illustration - Mādhāpā. Pāsāsāmaga sāsārīrī sānidhādhā sāsārigāmā gāriri. Sāgarīsārī. Sādhā. Gāndhāralalitā [xii] ..................... Illustration - Dhādhādhāpā. Gariridhāpadhāninirigā papānidhādhā rigarigadhāpadhā ripāgā rinidhā pādhādhā. Kalingā [xiii] The bhāṣā having dhaivata as the initial and concluding note, is <math>\acute{s}uddh\bar{a}</math>, <math>^{29}</math> dhaivata-madhyama (have concert?). It is a <math>m\bar{u}labh\bar{a}</math>ṣ<math>\bar{a}</math> sung by Nārada<math>^{30}</math>and others in bhinnaṣadja (rāga).