Having completed the exposition of the seven fundamental tones and their various modulations, the treatise continues, explaining that among these, six are not commonly found, and six are considered subordinate. With this foundation, the sage, having understood the doctrines handed down by earlier teachers, resolves to declare systematically the thirty embellishments of song, inviting the listener to attend carefully as he recites them. Ornamentations, he explains, must be described with reference to their own syllables and the causes that give rise to them. Their arrangement and the combination of rhythmic feet are to be understood through careful examination. The fulfillment of ornamentation arises from the connection between meaning, words, and phrases within a song. The words themselves may be placed at the beginning or the end of the musical line. There are three positions from which the voice emerges: the chest, the throat, and the head. Among these, the best method is practiced, with the singer skillfully choosing the appropriate position. Four natural syllables are recognized, and four kinds of analysis are applied to them. There are also eight variations, which the gods themselves know as sixteenfold in their subtlety. Those who are expert in syllables distinguish four types: the steady, the moving, the descending, and the ascending. Among these, one type is both moving and steady, taking on both qualities, with or without actual movement. For ascending syllables, the descending is also indicated, and by ascending, the experts know the ascending syllable. The sage now invites the listener to learn of the ornamentations associated with these syllables. There are four primary ornamentations: establishment, sequential movement, error, and non-error. Each has its own characteristics. The ornamentations known as visvara, uṣṭra, and kalā move to the next position, and in the musical cycle, two arise in sequence, determined by the measure. Another ornamentation, kumāra, extends and moves away; this, called apāṅga, is counted as one more than the kalā. The śyena ornamentation arises at the next interval, remaining within the measure of a kalā. In that note, an increase occurs, making it distinct from the previous. The śyena is a descending ornamentation, considered superior, and by the measure of kalā and its group, it is known as bindu. The bindu itself should be made as one kalā, remaining at the end of a syllable; even a reversed note may occur, though not with difficulty. The highest note is the one that lies at the next interval from the base note, ṣaḍja. The act of raising and lowering the voice, as in the high note of the crow, should be performed. The two called santāra are to be moved accordingly, and their cause as well; even when raised or lowered, they are to be sprinkled into the music in the same manner. The place of twelve kalās is at the next interval, giving rise to the ornamentation called preṅkholita, which is thus endowed with notes. From the transition of notes, another ornamentation, puṣkala, is described; it is inserted by a kalā between the rhythmic feet and the other notes. Whenever a note is diminished by two kalās, that is called "reduced." When pronounced, it rises to the note called visvara, as well as to the eighth note. Whether the note is lower, higher, or even deeper, if it lacks a single interval, all these are ultimately considered the same note. A group of four divisions is known as makṣipracchedana; these are called embellishments, thirty in number, described according to the application of the place of articulation and the measure of time units. The purposes of embellishment are fourfold: formation, measure, modification, and characteristic—all of which are to be understood by the practitioner. Just as a misplaced ornament on the body is greatly censured, so too is it improper to embellish a syllable in a way that is contrary to its own nature. In the same way, just as a woman's ornament, if combined or worn inappropriately, is considered unsuitable, so too is the embellishment of a syllable, if misplaced, subject to great censure. Earrings are not seen on the feet, nor a necklace at the waist; likewise, an embellishment, if misplaced, is to be condemned. Even as one applies embellishment, it should display the proper mode and be applied according to the prescribed path and method. The sage then promises to describe, as it truly is, the definition, proper application, and practice of these ornaments by singers, not relying merely on oral tradition. There are said to be eighty-three reversals of these embellishments; at the beginning, even the ṣaḍja group, if missing, becomes the middle or lower note. In the two tonal systems of ṣaḍja and madhyama, the reversal is likewise; the measure of the higher and lower registers is to be known for both ṣaḍja and āvika. The application of embellishment to all notes is considered proper, and by following the external song, the fifteen deities are recognized. In the case of the cow-notes, the madhyama portion is the reversal; the distinction between these in songs is the beauty established in the path of music. The connection and the related note have been described, and the reversal proceeds through the sequence of the seven notes. By the portion of gāndhāra, four deep notes are sung; the fifth is madhyama, and in dhaivata, by niṣāda. By ṣaḍja and ṛṣabha, it is known only in the deep notes, not in the intermediate. One should know that there are two in the lower register of the horse and the aṣṭaka; in the natural and the vaiṇava modes, the gāndhāra portion is used. The word has three forms, and the kauśika has seven forms; by the entirety of the gāndhāra portion, the rule of reversal is established. Thus, the sequence of madhyama is prescribed for the madhyama portion. Songs that are described as having a special form should be composed of seven notes, and the kauśika should have seven forms. This is called the indication of limbs; there are two measures of equal value, and from the second position, the measure is not established at the navel. In the north, as in nature, the measure is thus absorbed; where the "killers" are in the lump, the measure does not exceed. With one foot in the measure and the other not in the vīraṇa, the reduction in number there is known as "movement." Thus, with reverence and clarity, the sage has unfolded the subtle science of musical embellishment, their positions, measures, and proper use, so that the art of song may shine in its highest beauty and order.