Narada Purana — Purva Bhaga, Shloka 66
Anūcāna (True Learning), the Vedāṅgas, and Śikṣā: Svara, Sāmavedic Chant, and Gandharva Theory
निषादः । यः सामगानां प्रथमः स वेणोर्मध्यमः स्वरः । यो द्वितीयः स गांधारस्तृतीयस्त्वृषभः स्मृतः ॥ ५९ ॥
niṣādaḥ | yaḥ sāmagānāṃ prathamaḥ sa veṇormadhyamaḥ svaraḥ | yo dvitīyaḥ sa gāṃdhārastṛtīyastvṛṣabhaḥ smṛtaḥ || 59 ||
นิษาทะ: ในการขับสามัน สวระแรกคือมัธยมะของวีณา สวระที่สองเรียกว่า คานธาระ และสวระที่สามระลึกว่าเป็น ฤษภะ
Sanatkumara (in instruction to Narada, within a technical/śikṣā discussion)
Vrata: none
Primary Rasa: shanta
Secondary Rasa: adbhuta
FAQs
It links sacred Sāma-chanting to precise svara (pitch) knowledge, implying that disciplined sound (śabda) and correct intonation support ritual purity and inner concentration—foundational for mokṣa-oriented practice.
While technical, it supports bhakti by emphasizing correct musical/chanting foundations for hymns and praise (stotra, sāmagāna), making devotional recitation steady, harmonious, and traditionally valid.
Vedāṅga Śikṣā: the science of pronunciation and intonation—specifically mapping Sāma-chanting sequences to musical notes (madhyama, gāndhāra, ṛṣabha) as understood through the vīṇā’s tonal framework.