[Pramāṇa](https://indike.org/pramana/) › [Studies](https://indike.org/pramana/ins) › [Architecture and art](https://indike.org/pramana/ins.art) › [A Comparative Study of Some of the Leading Music Systems of the 15th, 16th, 17th & 18th Centuries](https://indike.org/pramana/ins.art.bhatkhande-comparative) › c3.s3 # A Comparative Study of Some of the Leading Music Systems of the 15th, 16th, 17th & 18th Centuries c3.s3: (7) Sarang. (A) A Comparative Study of Some of the Leading Music Systems of the 15th, 16th, 17th & 18th Centuries c3.s3 - **Language:** English ### (7) Sarang. (A) ### [c3.s3.1](https://indike.org/pramana/ins.art.bhatkhande-comparative.c3.s3.1) एवं सति च गान्धारः शुद्धमध्यमतां व्रजेत् । धश्च शुद्ध निपादः स्यात् सारंगो जायते तदा ॥ ### [c3.s3.2](https://indike.org/pramana/ins.art.bhatkhande-comparative.c3.s3.2) Translation.—If in the Iman Thata just described, the Ga coincides with the shuddha maddhyama and the dhaivata takes the place of the shuddha, nishada the scale produced would be the Saranga Thata. ### [c3.s3.3](https://indike.org/pramana/ins.art.bhatkhande-comparative.c3.s3.3) Observation.—The Gandhara which stands in the place of shuddha 'ma' would be called ati tivratama 'ga' and the dhaivata standing in the place of shuddha nishada would be called tivratara 'dha'. In ancient music, two notes of the same denomination were not allowed to appear in the same scale. Hence the use of the atitivratama 'ga' for shuddha 'ma' The Saranga scale was to be formed from the Imam, and this last already had the tivra 'ma' in it --- Source: [https://indike.org/pramana/ins.art.bhatkhande-comparative.c3.s3](https://indike.org/pramana/ins.art.bhatkhande-comparative.c3.s3) · Pramāṇa