[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) › c6.21 # A Comparative Study of Some of the Leading Music Systems of the 15th, 16th, 17th & 18th Centuries c6.21 A Comparative Study of Some of the Leading Music Systems of the 15th, 16th, 17th & 18th Centuries c6.21 - **Language:** English ### [c6.21](https://indike.org/pramana/ins.art.bhatkhande-comparative.c6.21) Translation — There are first of all the seven shudha swaras I shall explain next the seven vikrita swaras When shadja stands on its penultimate or the third sruti, it is called 'laghu-shadja' Similarly 'ma' and 'pa' standing on their penultimate srutis would be called 'laghu-ma' and 'laghu-pa' When 'ga' stands on the first sruti of 'ma', it is called 'sadharana-ga' and when it stands on the second sruti of 'ma', it is called 'antar-ga': when nishada stands on the first sruti of 'sa' it is "kaishiki-ni", and when it stands on the second sruti of 'sa', it is called "kakali-ni". When the swaras stand on their proper places or srutis, they are supposed to be shudha swaras only - [Previous: c6.20](https://indike.org/pramana/ins.art.bhatkhande-comparative.c6.20) - [Next: c6.22](https://indike.org/pramana/ins.art.bhatkhande-comparative.c6.22) - [Up: c6](https://indike.org/pramana/ins.art.bhatkhande-comparative.c6) --- Source: [https://indike.org/pramana/ins.art.bhatkhande-comparative.c6.21](https://indike.org/pramana/ins.art.bhatkhande-comparative.c6.21) · Pramāṇa