Narada Purana — Purva Bhaga, Shloka 31
Anūcāna (True Learning), the Vedāṅgas, and Śikṣā: Svara, Sāmavedic Chant, and Gandharva Theory
ताना एकोनपंचाशदित्येतस्स्वरमंडलम् । षड्जश्च ऋषभश्चैव गांधारो मध्यमस्तथा ॥ ३१ ॥
tānā ekonapaṃcāśadityetassvaramaṃḍalam | ṣaḍjaśca ṛṣabhaścaiva gāṃdhāro madhyamastathā || 31 ||
Die tānas, so heißt es, sind neunundvierzig; dies ist der vollständige Umkreis des Tonsystems. Und darunter sind ṣaḍja, ṛṣabha, gāndhāra sowie madhyama.
Sanatkumāra (teaching Nārada)
Vrata: none
Primary Rasa: shanta
Secondary Rasa: adbhuta
FAQs
It frames sacred sound (nāda) as an ordered science—by mapping tānas and svaras—supporting disciplined use of sound as a means toward inner steadiness and mokṣa-oriented practice.
While technical, it underlies bhakti through correct use of melody and pitch in stotra, kīrtana, and nāma-saṅkīrtana—showing that devotion can be strengthened when sound is rendered with proper svara-knowledge.
It highlights śikṣā (phonetics) and allied Gandharva-veda/music theory by enumerating the tonal framework (svara-maṇḍala) and naming core notes like ṣaḍja, ṛṣabha, gāndhāra, and madhyama.