Indian Antiquary Vol 41

Author(s): Richard Carnac Temple, Devadatta Ramkrishna Bhandarkar
Publisher: Swati Publications

Page 268

THE INDIAN ANTIQUARY
[NOVEMBER, 1912.
tone and a diatonic semitone respectively; similarly, the latter makes the interval between ri and antara ga a major tone, and that between antara ga and ma a diatonic semitone. Thes notes, however, were used with great restrictions: (1) They were to be used only in going up the scale, and even then in a passing manner without dwelling on them; (2) they were to be used only in the three jatis-madhyamd, pañchami, and shadja-madhyd-and even then only if the amsasvara was sa, ma or pa in the first and third, and pa in the second.
The shadja-sálhárana and adhyama-sadharana were notes intermediate between nishada and shadja, and between gandhara and madhyama, respectively; and the difference between them and the corresponding natural notes was so minute that they were designated also by the name kaisika (hair-like"). Further, the shadja-sadharana could be employed only in the shaḍjagrama, and the madhyama-sadharana in the madhyamagráma. We have no data in the Bh. to enable us to determine the values of these. From the S. R., however, we see70 that according to later writers they were produced by the following relations of notes:
Shadja-didrana
dha
264
Ma lhyama-sadharana -ri
Secondly, one could follow this procedure :
33
ni
ga
sa kákali-ni dha (c BA) ma antara-gandhara ri (fed)
33 23 48
Further, it would seem that though, as in the Bh., madhyama-sadharana was confined to the madhyamagráma, there was no corresponding restriction on the shadja-sadharana.
A change had also occurred in the mode of employing kakali-nishads and antara-gândhara. Firstly, one could descend thus:
83
8a
33
ma
80
sa kakali-ni sa the next higher note available
ma antara-gandhara ma the next higher note available
By the words the next higher note available' is to be understood, the next higher note, making allowance for such notes as are required to be omitted in the particular mode to be played or sung.' It will be observed that though the second procedure may be looked upon as in accordance with the teaching of the Bh., the first goes directly against it. It is impossible for us to find out when and how the change came about, as no works on music in the period between the Bh. and the S. R. are extant. The author of the S. R. himself, it must be noted, is not writing from his own knowledge, but on the authority of the writers who preceded him, and whose works were then available. The ancient music had already passed away in the time of Sârngadeva, the author of the S. R.
ri
The gramas' according to later writers.
The structure of the two gramas as given in the S. R., which is a compilation made from previous works, is exactly as given in the Bh.73 But in the S. P., which is a work of a much later period (see above) and when the old distinction of the gramas had been completely forgotten,73 thongh there is agreement in the structure of the shadjagrama, that assigned to the madhyamagrama is as follows with ma for keynote:
ma
ri
dha ni
pa
[ma]
83
pa
ga
8
2;
10 9. R. p. 64, slokas 7 and 8.
18. R. p. 64, slokas 3, 4, 5 and 6.
13 The reader should note that the arrangement of śrutis in the madhyama and gandhara gramas, as drawn up in App. iv of the S. R. Anandashrama series, is not according to the text. It agrees with that given in the 8. P. 15 S. P. kânda i., sloka 100,