BRHADDEŚ! tānas of that grāma), in jāti and rāga also the samwādin pairs of each grāma play a definite role. 7, 8. The reason assigned here for the naming of the two grāmas after şadja and madhyama is 'mythical' (no negative odour is implied by this word here). A pragmatic view would be that sadja and madhyama are the two out of the three svaras with four-śruti intervals that could represent the consonance of the perfect fifth and perfect fourth respectively. Pañcama is also of the same category interval-wise and myth-wise it is brāhmaņa like the other two viz. şadja and madhyama, but does not belong to the community of gods, rather gandhara belongs to that community; the reason, most probably, is that gandhara is also associated with a grāma whereas pañcama is not. 9. The prominence of sadjagrāma could be understood to be due to—(i) its adherence to sa-pa-samvāda which is primary and (ii) its being the point of reference for madhyamagrāma. 10. The third viz. gāndhāra-grāma has already been described as not belonging to this world. 11. The two svaras here represent the consonance of the perfect fifth and perfect fourth respectively. 12. This is a passage reproduced from NS XVIII, 5 ab; it purports to state the basis of the formulation of grāma by saying that svaras were grouped into grāma through jātis and śrutis i.e. through the observation of intervallic peculiarities in various melodies, that were categorised into two grāmas. ( see glossary ) 13-16. The purport of this passage is not clear. Jāti itself is a codified or categorised version of melodic structures. The two broad categories for jāti are provided by grāma itself. To say that grāma has been formed on the basis of jātis could mean that jāti in that statement could only stand for melodic structures in general. But here this point is stretched further and it is being said that the śuddhā and vikṛtā jātis are the basis of the formulation of grāma; it looks like putting the cart before the horse. 17. The implication of assigning the origin of sadjagrāma to śuddhā jātis and that of madhyama-grāma to vikṛtā jātis is not clear, because śuddhā jatis are assigned to both the grāmas. Brahaspati has suggested (vide Sangita Cintāmaņi, p. 117) that śuddhā and vikṛtā should be construed to qualify mūrchanā, but this is not tenable because the text here speaks clearly about jāti and not mūrchanā. Sankirņā here should be understood as the sansargajā vikītā which are described in NS and Dattilam as being born of mixture. This mixture is said here to be between suddhā and vikritā jātis, which is a departure from other texts. (see glossary) 18. Jāti and rāga, 'change' or acquire peculiar characteristics according to the grāma to which they are assigned; this is implied by the 'change of grāma'. 19. The meaning samucchrāya is relevant here, because mūrchanā brings about a series of derived scales from grāma, it leads to 'increase' or 'growth'.

20. Rāga, in general, as colour or delightfulness could increase due to mūrchanā because the latter gives rise to variety of scalar forms that would in turn, bring into existence variety in melodic structures. 21, 22. Both ascent and descent and unimpaired original order of svaras as well as use of seven svaras without any omission are the three conditions for mūrchanā. The omission of svaras gives rise to tāna. 23. BṛD is the first known text to speak of 12-svara-mūrchanā. Kumbhā has vehemently criticised this type of mūrchanā (vide S Raj II, 1.1.352-364). 24. When hexatonic and pentatonic scales are accepted as murchana, the condition of using all the seven svaras is violated. ( see glossary ) 25. Svarasamyutāh of the text has been translated as 'filled' with svaras. 26. It is notable that the starting points of murchanas follow the descending order i.e. after the murchana beginning with sadja comes the one beginning with niṣāda, and not ṛṣabha. 27. The beginning svara of each mūrchanā has been put in the locative case, implying, perhaps that a mūrchanā subsists there. 28. Here the instrumental case has been used in order to meet the requirement of metre. 29. Tārakādi is a gaņa of Pāņini (V.2.36, Gaņaratnamahodadhi, 388-391, vide Monier Williams). 30. Itac is a suffix. 31. This derivation occurs for the first time in BrD. 32. This is the total number of hexatonic tanas in both the gramas. 33. This is the total number of pentatonic tānas in both the grāmas. 34,35. All the omitted pairs are samvādins except ri-dha in madhyamagrāma which is anuvādin. 36. Prastāra literally means elaboration; here it means notational presentation. 37. If the author is referring to a recapitulatory verse in Viśākhila's work we have no way of verification because that work is lost. It is not improbable that he is referring to NS XXVIII, 32 where mūrchanās have been said to be made of all the seven svaras and tanas have been said to be hexatonic and pentatonic. 38. This distinction between murchana and tana as the former being with ascent and descent and the latter being only with ascent is a new point made in BrD which does not seem to be valid. ( see glossary ) 39. BrD is the first text to assign yajña names to tānas. Some later texts have reproduced these names (cf. SR I,4.72 cd 90 ab and SRāj II,1.1.453-474). S Rāj also attempts to justify this assignment of Yajña-names (vide ibid. 476-493. ab). ( see glossary ) 40. This statement of BrD to the effect that sādhāraņa mūrchanās begin with antara and kākalī is in contradiction of the postulation of NS XXVIII, p. 82 that kākalī (and by implication antara also ) is anamsa ( non-amsa i.e. is not the progenitor of a