In the ancient treatise, the intricate progression of musical notes and embellishments is laid out with great care. The visvara, uṣṭra, and kalā are described as notes that move to the next position in the melodic cycle, with two arising in sequence according to their measured intervals. Kumāra is named as another note, which extends and moves away, and the apāṅga is defined as one more than the kalā in this sequence. The śyena note emerges at the next interval, remaining within the measure of a kalā, and in this note, there is a distinct increase, separate from the previous tone. Śyena is called the descending and superior note; by the measure of kalā and its group, it is recognized as bindu. The bindu itself should be rendered as one kalā, lingering at the end of a syllable, and even a reversed note may occur here, though not with difficulty. The highest note is found at the next interval from the base ṣaḍja; the act of raising and lowering the tone should be practiced, much like the high note of the crow. Two notes, called santāra, are to be moved, along with their cause; whether raised or lowered, they are to be sprinkled in the same manner. The place of twelve kalās is at the next interval, and the ornamentation known as preṅkholita is endowed with these notes. From the transition of notes, the embellishment called puṣkala is described, which is inserted by a kalā between the feet and the other notes. Any note diminished by two kalās is called reduced, and when pronounced, it rises to the visvara note, as well as to the eighth note. Yet, whether a note is lower, higher, or deeper, if it lacks a single interval, all are ultimately considered the same note. The group of four divisions is known as makṣipracchedana, embellishments numbering thirty, each described according to the place of articulation and the measure of time units. Formation, measure, modification, and characteristic are the fourfold purposes of embellishment to be understood. Just as an ornament misplaced on oneself is greatly censured, so too is it improper to embellish a syllable in a way contrary to its nature. Like a woman's ornament, which is inappropriate if misplaced, so too is the embellishment of a syllable, if improperly placed, subject to great censure. Earrings are not seen on the feet, nor a necklace at the waist; likewise, misplaced embellishments are condemned. Even when creating embellishments, one should display the proper mode and apply them according to the prescribed path and method. The scripture promises to describe, as it truly is, the definition, correct application, and practice by singers, not merely handed down by oral tradition. The reversal of embellishments is said to be eighty-three in number; at the beginning, even the ṣaḍja group, if lacking, becomes the middle or lower note. In the two tonal systems of ṣaḍja and madhyama, reversal occurs similarly; the measure of higher and lower registers is to be known for ṣaḍja and āvika as well. Applying embellishments to all notes is considered proper, and by following the external song, fifteen deities are recognized. For cow-notes, the madhyama portion is the reversal; the distinction between these in songs brings beauty to the musical path. The connection and related note have been described; the reversal proceeds through the sequence of the seven notes. By the gāndhāra portion, four deep notes are sung; the fifth is madhyama, and in dhaivata, by niṣāda; by ṣaḍja and ṛṣabha, only the deep notes are known, not the intermediate. There are two notes in the lower register of the horse and the aṣṭaka; in the natural and vaiṇava, 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, and thus the sequence of madhyama is prescribed for the madhyama portion. Songs 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 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. The second foot's break is established by grasping, previously in the eighth and third, and the second in the other arrangement. With half the foot's symmetry and the portion of the foot in the fifth, the portion with a foot is also established in the original form. In the fourth in the north, and in Madravatī and Madraka, in Madraka of the south as well, the specified measure prevails. Application is first, and understanding is second; the taking of the feet from the singers—there is no crossing over here. The unity of application, O best of twice-born, is of two; but the combination of many is known as patākā-hariṇa. Of three metres, the metre is the right one; there are eight combinations, called sauvīra and also mūrcchanā; one who is superior to kuśatya is said to have seven pure notes. Then, the narrative shifts. Sūta tells: When Raivata departed for that world, all the virtuous people were slain by the rākṣasas, and Kuśasthalī was destroyed. The hundred brothers of that righteous, great-souled one, bound by the rākṣasas, fled in all directions out of fear. Those kṣatriyas, overcome by terror, scattered here and there, but from them a great lineage arose, O best of twice-born. They became known in all directions as the Prayatās, righteous ones; and from Dhṛṣṭa came the Dhārṣṭaka kṣatriyas, who were bold in battle. Thus, the cycles of music and the fortunes of noble lineages are woven together in the sacred tradition.