The two types of activities are: the divine (daiviki) and the human (manushi). Success is achieved in both these types, which are to be understood as the intermediate and central styles.
शारीराश्चैव वैणाश्च सप्त षड्जादयः स्वराः । [निषादर्षभगान्धारमध्यपञ्चमधैवताः ॥] ततं चैवावनद्धं च घनं सुषिरमेव च ॥ २७॥
The bodily and stringed sounds are the seven notes: Shadja, Rishabh, Gandhara, Madhyama, Panchama, Dhaivata, and Nishada. These are followed by flat, sharp, and open notes, along with dense and hollow sounds.
The four kinds to be understood are: the ascending (Udyam) with specific characteristics, the one associated with strings (Tantrigata), the one with a flat tone (Avanaddha), and the one with a full, robust quality (Poushkara).
घनस्तु तालो विज्ञेयः सुषिरो वंश एव च । प्रवेशाक्षेपनिष्क्रामप्रासादिकमथान्तरम् ॥२९॥
The solid (Ghanu) is to be understood as the rhythm (Tāla), the hollow (Suṣiro) as the flute (Vaṃśa), and the entrance, dismissal, exit, and the palace-like structures (Praveśākṣepa, Niṣkrāma, Prāsādika) represent various transitions or movements in the context.
The five types of singing (Gāna) should be known as those associated with the fixed musical system (Dhruvāyoga). The stage (Ranga) is described as four-cornered (Chaturasra) and distorted (Vikrṣṭa), and it is also described as triangular (Tryaśra).