Anūcāna (True Learning), the Vedāṅgas, and Śikṣā: Svara, Sāmavedic Chant, and Gandharva Theory
अंतरस्वरसंयुक्तः काकलिर्यत्र दृश्यते । तं तु साधारितं विद्यात्पंचमस्थं तु कैशिकम् ॥ ५५ ॥
aṃtarasvarasaṃyuktaḥ kākaliryatra dṛśyate | taṃ tu sādhāritaṃ vidyātpaṃcamasthaṃ tu kaiśikam || 55 ||
Là où le ton kākali se fait entendre avec une note intermédiaire (intérieure), il faut le comprendre comme sādhārita (variante). Et lorsqu’il est placé sur la cinquième note, on l’appelle kaiśika.
Narada (teaching technical Shiksha/svara science to the Sanatkumara tradition)
Vrata: none
Primary Rasa: shanta
Secondary Rasa: adbhuta
It emphasizes that precise intonation (svara) is part of dharma: mantra power and clarity of meaning depend on correct tonal knowledge taught in Vedanga-Śikṣā.
Bhakti is supported by right practice: when hymns and mantras are sung/recited with correct swaras, devotion becomes disciplined and the offering (stuti/japa) is considered properly formed.
Vedanga-Śikṣā: it gives a technical rule for identifying and naming tonal variants (kākali as sādhārita; and kaiśika when positioned on pañcama), useful for accurate chanting and musical-phonetic tradition.