mūlabhāṣā has the structural property of being hexatonic and having dhaivata as initial and concluding note with sparse ṣaḍja
"Combined with dhaivata as the initial and concluding note, having sparse
sa (ṣaḍja), ṣaḍja bhāṣā is a mūlabhāṣā that is hexatonic"
TRANSLATION
<sup>193</sup>
Illustration - Māmapāmā pāpānidhādhā nipāpānipamā risānidhāpāmā.
Sāmādhāni dhāpāpāsāpānigārisā ninīsānisānidhāmā mānidhāpāpā. Āndhrī
[v]
Gāndhārī has gāndhāra as aṁśa (and) pancama as the concluding note, is
complete; (this) vibhāṣā is sung in mālavapañcama in (the context of)
ascending the top of a mountain. <sup>16</sup>
(19)
Illustration-Gāgāninidhā dhādhāniririgā pamāgari risanīsāsā. Dhādhāsādhāni.
Sāgāsānidhāpāpā. Gāndhārī [vi]
Thus end the bhāṣās in mālavapañcama according to
the opinion of Sārdūla.
[4. Now in bhinnaṣaḍja]
Trāvaņī and şadjabhāṣā, mālavī, similarly gūrjarī, bāhyaṣāḍavā, kausalī,
gāndhārī, svaravallitā, lalitā, niṣādavatī, tumburu, gāndhāralalitā, kaliṅgā and
śuddhā and madhyamā, similarly pārvatī (these are the bhāṣās in bhinnaṣaḍja).
(20-21)
Trāvaṇī bears a regional name, 17 has dhaivata as the concluding note and
is with sparse şadja.
(22)
Illustration - Riridhādhādhanī nīdhādhā. Madhāniridhā dhāninisānini
dhādhānidhāmādhā. Niridhādhāmadhādhāmiririnigāmāgādhāmarīsānidhāmidhā
nidhāmāmadhā niniridhādhā. Trāvaņī [i]
Combined with dhaivata as the initial and concluding note, having sparse
sa (ṣaḍja), ṣaḍja bhāṣā is a mūlabhāṣā that is hexatonic and is sung in the
worship of deities.<sup>18</sup>
(23)
Illustration - Dhānidhādhā. Sānidhādhā. Samānidhā. Māgāgāmā. Nidhādhā.
Gāmāgāmā. Gamādhādhā. Garisānidhā. Pamāmā. Pāmādhānī. Dhādhā.
Ṣaḍjabhāṣā [ii]