Narada Purana — Purva Bhaga, Shloka 53
Anūcāna (True Learning), the Vedāṅgas, and Śikṣā: Svara, Sāmavedic Chant, and Gandharva Theory
यदि पंचमो विरमते गांधारश्चांतरस्वरो भवति । ऋषभो निषादसहितस्तं पंचममीदृशं विद्यात् ॥ ५२ ॥
yadi paṃcamo viramate gāṃdhāraścāṃtarasvaro bhavati | ṛṣabho niṣādasahitastaṃ paṃcamamīdṛśaṃ vidyāt || 52 ||
Se o Pañcama (a quinta nota) não é entoado, então Gāndhāra torna-se a nota intermediária; e Ṛṣabha, juntamente com Niṣāda, deve ser entendido como constituindo o Pañcama deste modo.
Sanatkumara (teaching Narada in a technical Vedanga/Shiksha context)
Vrata: none
Primary Rasa: shanta
Secondary Rasa: adbhuta
FAQs
It highlights the Purana’s Vedanga emphasis that correct understanding of sound (svara/nāda) supports accurate mantra-intonation, which in turn steadies the mind and aids dharma and inner clarity.
Indirectly: bhakti practices rely on śabda—kīrtana, stotra, and mantra. This verse reinforces that disciplined knowledge of pitch/intonation safeguards devotional recitation from distortion.
Śikṣā (phonetics/intonation): it explains functional substitution/recognition of a note (Pañcama) through related notes and an intermediate pitch (antara-svara), useful for precise chanting and musical-ritual performance.