24. The eighth vidārī of gāndhārī reads in SR — nidha pani mā mapari gā gā gā gā. 'Ni' is the fifth of 'ga' and perhaps the same is being referred to. As regards nidha nisa, this phrase occurs five times in the prastara given in SR and the 'sa' in each case bears a vertical stroke on top, indicating its tāra position. Really speaking, the tāra should begin from the octave of 'ga'. 25. Gati literally means gait, here it means the extent i.e. the point beyond which movement is not permissible or is not considered proper. 26. Mṛdu (soft, gentle) as a synonym of mandra (low) is very significant, since it implies that the low svaras have a typical softness or gentleness about them. 27. Bahuvrihi (lit. possessing much rice) is "a relative or adjective compound in which, as in the word bahuvrihi itself (cf. tatpurușa), the last member loses its character of a substantive and together with the first member serves to qualify a noun " (Monier Williams ). The compound tatpurușa is a "class of compounds (formed like the word tat-purușa 'his servant') in which the last member is qualified by the first without losing (as the last member of bahuvrihi compounds) its grammatical independence (whether as noun or adjective or participle)." (ibid). The classic example for these two compounds is 'indrasatru' which could be split and interpreted in two ways - viz. 'indrasya śatru' = 'the enemy of Indra' and 'indrah śatruh yasya sah' = 'he whose enemy is Indra'. Here 'mandragati' has three adjectives; viz. amśaparā, nyāsaparā and apanyāsaparā interpreted as bahuvrīhi compounds, meaning that which is followed by amsa or nyāsa or apanyāsa. It is notable that mandra begins with the svara immediately below the amsa. Hence the above statement would mean that the lowest limit of mandra could extend upto the lower octave of amsa or nyasa or apanyasa. t 28,29. The notation given here forms the first vidārī of the prastāra of dhaivatī as given in SR; here 'ma' is the apanyasa and it forms the mandra as it comes below dhaivata which is the amsa. 30. The operation of nyāsa in the mandra range could be seen in the sixth vidārī of dhaivatī, which ends with the lower 'dha'. 31. The hexatonic jātis are fourteen in number and their amsas are forty-seven. 32. The pentatonic jātis are ten in number and their amsas are thirty. (Also see note no. I above ). 33,34. Deśī is basically regional; here it is also said to be related to ethnic groups which are illustrated with eight names. This is the first reference to ethnic groups in Saṅgītaśāstra in extant texts.

35. Lack of regulation i.e. scope for free will in rendering is a characteristic of desi, but the import of 'sruti' is not clear. It could, perhaps, stand for 'aural appearance'. 36. See citation in the name of Nărada under Anu. 28 in chapter one of our text Vol. I. 'Svarāntara' literally means a different svara; its relation with the number four of svaras could thus be explained. The first three svaras are repeated as the last three of a heptad. The fourth known as madhyama comes in-between these two triads. Hence the fourth adds a 'different or new svara'. This could be the reason for giving the name svarantara to a group of four svaras. This name is relevant only for the first triad + the fourth, but its secondary application could be related to any group of four svaras. 37. Avakṛṣṭā dhruvā is described and illustrated in NS V on p.157, 158 of the supplement (variant reading) to the said chapter. The description ' (in terms of upohana or introductory portion and metre) is given below - "Five dhruvās should be performed in Pūrvaranga (preliminaries of drama), viz. utthāpanī in the beginning, then parivarta, avakṛṣṭā, aḍḍitā and vikşiptă” (p. 251). "The upohana in avakṛṣṭā dhruvā should be done in five kalās (time- units) with the syllabic units dingle dingle, two units of four short syllables each and jhantum in the end. Each foot of the dhruva is composed of sixteen syllables, the third, sixth, ninth, eleventh, fifteenth and sixteenth being guru (long) and the rest being laghu (short)." The illustration is as follows- Varadam saganam tripurāntakam vṛṣabhaketum/ Gajacarmapaṭamviṣamekṣaṇambhuvananātham/ Bhujagābharaṇaṁjagatāṁhitaṁbhuvanayoniṁ/ Praṇato'smi bhavantamumāpatim tvasitakantham/ 38. Antaramārga is mentioned in NŚ XXVIII (prose portion preceding verse 74 and in verse 75). The context is the same as that in our text, viz. alpatva-bahutva. The manipulation of sparseness and abundance of svaras in jātis on account of which a non-amsa svara also becomes abundant in a special context is antara-mārga. The literal meaning of this word is 'search for the inner path'. The root 'mārg' means searching. Abhi has said that 'antara-mārgaņa 'i.e. the search of the inner is antara-marga. What is this inner? This has to be understood in two ways. The first is in relation to the seven jātis named after svaras, which assume a two-fold form viz. śuddha and vikṛta. The second is in the context of eleven samsargajā vikṛtā jātis that are formed with a mixture of the above⁸