Both Bharata and Śārṅagadeva discuss the concept of Pramāṇa Ṥrutī for determining the perceptible value of a Ṥrutī to the human ear.

In the Ṣaḍja Grāma, the fifth degree, Pañcama, encompasses four Ṥrutīs—Kṣiti (Kṣamā), Raktā, Sandīpinī, and Ālāpinī—being naturally situated on the latter. Pa serves as the primary consonant and functions as the Saṁvādī of the tonic. Positioned at a distance of thirteen Ṥrutīs from Ṣaḍja, Pa, and the other consonant, Madhyama, maintains a gap of nine Ṥrutīs from Ṣaḍja.

Examining the Saṁvādī of the second degree, Ṛṣabha, it aligns with Dhaivata, the sixth tone, separated by thirteen Ṥrutīs in both Grāmas. However, when considering the distance of nine Ṥrutīs from the second tone, there is an absence of a note.

Conversely, within the Madhyama Grāma, Pañcama resides on its third Ṥrutī, Sandīpinī, becoming the Saṁvādī of the second degree, Ṛṣabha, positioned at a distance of nine Ṥrutīs from the latter.

Dhaivata, located at a distance of thirteen Ṥrutīs, mirrors its role in the Ṣaḍja Grāma. In both Grāmas, Dhaivata emerges as the Saṁvādī of Ṛṣabha, although in the Madhyama Grāma, it manifests as a note of four Ṥrutīs, having acquired Ālāpinī from Pañcama.

Pañcama, acting as the Saṁvādī of Ṣaḍja in the Ṣaḍja Grāma, undergoes a microtone reduction to serve as the Saṁvādī of Ṛṣabha in the Madhyama Grāma.

Playing both scales simultaneously would reveal the distinctiveness between the two Pañcamas, illustrating the frequency difference known as the Pramāṇa Ṥrutī—an audible microtonal value to the human ear.