Bharata also makes some unscientific and unacceptable observations ignoring practically proven truths like samvaad (samvaada/ संवाद) or consonance of ma-ni, re-dha, re-pa and ga-ni as each of these swara pairs do not have equal number of shrutis to establish samvaad. In reality, the above mentioned pairs DO create samvaad or consonances which Bharata did not recognize for unknown reasons. None of the musicologists give in writing the 'practical basis' or technique of ascertaining the ideal tonal gap between the note pairs like saa-re, re-ga, ga-ma, ma-pa, pa-dha, dha-ni, ni-saa* (taar saa) until Sangeet Paarijat of Ahobal (c. 1650). The "swara" studies in ancient Sanskrit texts include the musical gamut and its tuning, categories of melodic models and the "raga" compositions.