Narada Purana — Purva Bhaga, Shloka 25
Anūcāna (True Learning), the Vedāṅgas, and Śikṣā: Svara, Sāmavedic Chant, and Gandharva Theory
प्रथमश्च द्वितीयश्च तृतीयोऽथ चतुर्थकः । मंद्रः क्रुष्टो मुनीश्वर एतान्कुर्वंति सामगाः ॥ २५ ॥
prathamaśca dvitīyaśca tṛtīyo'tha caturthakaḥ | maṃdraḥ kruṣṭo munīśvara etānkurvaṃti sāmagāḥ || 25 ||
„Der erste, der zweite, der dritte und dann der vierte—ferner die Töne mandra und kruṣṭa—o Herr der Weisen: dies sind die Tonstufen, deren sich die Sänger des Sāma (Sāmaveda) bedienen.“
Sanatkumara (teaching Narada)
Vrata: none
Primary Rasa: shanta
Secondary Rasa: adbhuta
FAQs
It stresses that liberation-oriented dharma includes precision in sacred sound: correct tonal application in Sāma chanting preserves the mantra’s potency and supports inner purification.
By highlighting disciplined Sāma recitation, it presents devotion not only as emotion but as reverent, exact worship through sound—an offering where correct svara becomes a form of bhakti.
Śikṣā (Vedic phonetics): the verse lists tonal grades/notes used by Sāmagāḥ, indicating the practical rule that Sāman singing depends on defined svara/intonation such as mandra and kruṣṭa.