35, 36. Rāgatva, the state of being rāga (melody-matrix) could combine both the structural and aesthetic aspects of raga, the melodic configuration. 37. Amsa is one of the ten characteristics of a melodic configuration which bears the name jāti in a generic state and the name rāga in a specific state. NŠ (XXVII, p. 15) also identifies vādin and amsa by stating—"that (svara) which is amía in a particular melodic situation is the vādin at that time". 38. The condition of equal interval of the two svaras concerned in terms of śrutis for the accomplishment of samvāda (roughly consonance) has not been explicitly stated in NS, although it is implicitly followed there. BrD makes the first explicit statement in this regard. The fact that the pair of madhyama-nişāda has not been included in the samvādin-pair enumerated in NŠ (XXVIII, p. 15) is evidence of the implicit adherence to the condition of equal interval of the two svaras concerned for the establishment of samvada-relationship. The underlying idea is that samvada is not conceived as an exclusively acoustic phenomenon; it is rather a combination of acoustic and melodic phenomena. Acoustically madhyama-niṣāda have an interval of 13-srutis which is samvādin, but madhyama has a four-śruti interval from gāndhāra and niṣāda has a two-śruti interval from dhaivata and hence the structuring of exactly reciprocal melodic phrases with these two svaras is not possible. They are not, therefore, accepted as a samvādin pair. Abhi Bhā on the prose portion of NŚ XXVIII, p. 15 ( Abhi Bhā, ibid., p. 17) elucidates and illustrates this point. This concept of equal number of śrutis in samvādin pairs has far reaching implications because it affects the omission of pairs in jātis and grāma-rāgas. 39. The structure of a raga rests on the acoustic-cum-melodic support accorded by the samvadin to the vadin. 40. Mūrchanā is basically a scale derived from grāma ( see next section on grāma- murchana). Here it appears to stand for tuning on a fretted viņā. (see glossary) 41. BrD is the first text to explicitly define the anuvadin. NS (p. 15) and Dattilam (19) simply state that those that are neither samvādin nor vivādin are anuvādins. But our text has defined the phenomenon of anuvāda in clear-cut terms. This description, however, holds good only with reference to svaras with four and three sruti - intervals and not to those with three and two śruti - intervals. ( see note 43 below ) 42. This description embodies an analysis of melodic structuring. (see glossary) 43. While talking of anuvādin pairs our text has been silent about gāndhāra- niṣāda, but here it says that the state of anuvādin applies to gāndhāra-niṣāda. NS (XXVIII, p. 15) speaks of gāndhāra and niṣāda in the context of anuvāda as shown in the following chart - Grāma Vādin Anuvādin Şadja Şadja Gāndhāra-niṣāda Rşabha Niṣāda * Gāndhāra Madhyama-pañcama-dhaivata. * Madhyama Madhyama Niṣāda-gāndhāra

Madhyama Pañcama Niṣāda-gāndhāra Dhaivata Gändhära Nişāda Şadja-rşabha Şadja Gāndhāra This list does not seem to follow the general statement that all those which are neither samvādins nor vivādins are anuvādins, because all such intervals are not included here, as are neither samvadins nor vivadins. The passage listing the anuvādins has not been commented upon by Abhinavagupta; perhaps it is an interpolation. It has been put within square brackets by the editor. Our author's statement that nişāda and gāndhāra are established as anuvadins as they are less by one sruti obviously with reference to the svaras having an interval of three srutis each viz. rşabha-dhaivata cannot hold good because gāndhāra-niṣāda have an interval of two śrutis from ṛṣabha-dhaivata respectively and are hence vivadins. 44. Here again, the application of the concept of vivada in melodic structuring is being illustrated. ( see glossary ) 45-51. 'Arcika' pertains to rk, implying that the recitation of Reveda employs one svara⁸⁵; gāthika pertains to gāthā ( that stanza which neither belongs to Rgveda nor to Sāmaveda, nor to Yajurveda³, but to the epic poetry of Akhyānas or narratives) which is associated with the use of two svaras; sāmika pertains to sāman implying that the music of Sāmaveda employs three svaras; svarāntara literally means the interval of a svara, the implication seems to be that a group of four svaras is the first step towards the formation of a heptad from a triad; auduva stands for a group of five svaras ( the etymology of this word is given in Anu. 41 of our text); sādava stands for a group of six svaras and sampūrņa, literally meaning complete, stands for a group of all the seven svaras. Really speaking, it is not possible to limit the recitation of Rgveda to one svara, because in current practice, generally three tones are employed¹¹ in reciting the pk. The practice of the recitation of gatha is not generally known today. But for sāman, it is not possible to limit its musical range to three tones. It is, however, notable that the number three is associated with sāman in NS in another context and that is the trisama spoken of in the beginning of pūrvaranga, the preliminaries of dramatic performance. The semi-musical rendering of three sāmans is prescribed there. These sāmans are composed of non-sensical syllables and not Vedic texts (vide NŚ XXXIV, 218-221). 52. Gita stands for a tonal structure that may be rendered by the voice or on instruments, it is not just 'song'.⁶ 53. Şadja as the progenitor of six svaras can be understood as the one who regulates or determines the pitch of all the six subsequent svaras. In this context şadja will have to be construed as the standard tonic. Although in the grāma-mūrchanā system each one of the seven svaras could assume the role of tonic, yet şadja is the initial tonic in