षङ्जे तूत्तरमन्द्रा स्यादृषभे चाभिरूहता
In Ṣaṅja, Uttaramandrā is found; in Ṛṣabha, Abhirūhatā.
मध्यमे खलु सौवीरा हृषिका पञ्चमे स्वरे
In Madhyama, indeed, Sauvīrā and Hṛṣikā are in the fifth note.
निषादे रजनीं विद्यादृषीणां सप्त मूर्छनाः
In Niṣāda, one should know Rajanī; there are seven mūrchanās of the Ṛṣis.
पितॄणां मूर्च्छानाः सप्त तथा यक्षा न संशयः
There are seven mūrchanās of the Pitṛs, and likewise of the Yakṣas, without doubt.
षङ्जः प्रीणाति वै देवानृषीन्प्रीणाति चर्षभः
Ṣaṅja pleases the gods, and Ṛṣabha pleases the Ṛṣis.
देवान्पितॄनृषींश्चैव स्वरः प्रीणाति पञ्चमः
The fifth note pleases the gods, ancestors, and Ṛṣis.
गानस्य तु दशविधा गुणवृत्तिस्तु तद्यथा
The qualities and modes of song are tenfold, as follows:
काकस्वरं मूर्द्धगतं तथा स्थानविवर्जितम्
Kākasvara, mūrddhagata, and those lacking proper position.
व्याकुलं तालहीनं च गीतिदोषाश्चतुर्दश
Disturbed, lacking rhythm; these are the fourteen faults of singing.
स्रियो मधुरमिच्छन्ति विक्रुष्टमितरे जनाः
The fortunate desire sweetness; others desire elevation.
कनकाभस्तु गान्धारो मध्यमः कुन्दसन्निभः
Gāndhāra is golden in appearance; Madhyama resembles the jasmine.
निषादः सर्ववर्णः स्यादित्येताः स्वरवर्णताः
The Niṣāda is considered to belong to all castes; these are the characteristics of the svara-varṇas.
ऋषभो धैवतश्चापीत्येतौ वै क्षत्रियावुभौ
Ṛṣabha and Dhaivata—these two are both regarded as Kṣatriyas.
शूद्रत्वं विधिनार्द्धेन पतितत्वान्न संशयः
Śūdra status is determined by half the rule; there is no doubt regarding its fallen condition.
निपतति मध्यमरागे स निषादं षाङ्जवं विद्यात्
When it descends in the middle tone, one should recognize the Niṣāda as belonging to the Ṣāṅjava class.
ऋषभो निषादसहितस्तं पञ्चममीदृशं विद्यात्
Ṛṣabha together with Niṣāda—such is known as the fifth (pañcama) of this kind.
धैवतस्य च दौर्बल्यान्मध्यमग्राम उच्यते
Because of the weakness of Dhaivata, it is called the Madhyama grāma.
धैवतः कंपितो यत्र स षङ्गयाम ईरितः
Where Dhaivata is vibrated, it is referred to as Ṣaṅgayāma.
तं तु साधारितं विद्यात्पञ्चमस्थं तु कैशिकम्
That should be known as Sādhārita; the fifth (pañcama) is called Kaiśika.
यस्मा त्तु मध्यमे न्यासस्तस्मात्कैशिकमध्यमः
Because the resting place is in Madhyama, therefore it is called Kaiśika Madhyama.
कश्यपः कैशिकं प्राह मध्यमग्रामसंभवम्
Kaśyapa declared that Kaiśika arises from the Madhyama grāma.
वेति वाद्यस्य संज्ञेयं गन्धर्वस्य प्ररोचनम्
‘Veti’ is the designation for the instrument; it is the delight of the Gandharva.
यो द्वितीयः स गान्धारस्तृतीयस्त्वृषभः स्मृतः
The second is Gandhāra, and the third is remembered as Ṛṣabha.
षष्ठो निषादो विज्ञेयः सप्तमः पञ्चमः स्मृतः
The sixth is known as Niṣāda, and the seventh is remembered as Pañcama.
अजाविके तु गान्धारं क्रैञ्चो वदति मध्यमम्
In the sheep, Gandhāra is spoken; Kraiñca declares Madhyama.
अश्वस्तु धैवतं वक्ति निषआदं वक्ति कुञ्जरः
The horse utters Dhaivata; the elephant utters Niṣāda.
गान्धारस्त्वनुनासिक्य उरसो मध्यमः स्वरः
Gandhāra is nasalized; Madhyama is the chest tone.
ललाटाद्धैवतं विद्यान्निषादं सर्वसन्धिजम्
From the forehead, Dhaivata should be known; Niṣāda arises from all joints.
षङ्भिः सं जायते यस्मात्तस्मात्षङ्ज इति स्मृतः
Because it is produced from Ṣaṅ, it is therefore called Ṣāṅja.
नर्दत्यृषभवद्यस्मात्तस्मादृषेर्भ उच्यते
Because it sounds like a bull, it is therefore called ṛṣabha.