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 ||
نِشاد: سام گان میں جو پہلا سُر ہے وہی وینا کا مَدهیَم سُر ہے۔ جو دوسرا ہے وہ گاندھار کہلاتا ہے؛ اور تیسرا رِشبھ کے نام سے یاد کیا جاتا ہے۔
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.