Ragas and Raginis: A Pictorial and Iconographic Study of Indian Musical Modes Based on Original Sources c6.38

c6.38

“After expressing the Kaiśika (V) in the presence of all the notes, where (the melody) terminates in the madhyama, there arises “Kaiśika-madhyama” (VI) where the Kākalī (?sharp Niṣāda) is seen and the pañcama predominates. Kaśyapa calls it “Kaiśika”, born of the “Madhyama grāma” (VII), (11th śloka).