The wise teacher spoke, revealing the profound truth: “That Self am I, that Self are you, and indeed, that Self is all this. The apparent differences that we perceive arise only from ignorance—there is no real separation in the essence of being.” With this realization, the one who remembered his past births attained liberation in that very life itself. This knowledge, so pure and illuminating, grants liberation not only to Brahmins, Kshatriyas, and Vaishyas, but even to all who earnestly listen. Such is the nature of this pure knowledge of Brahman—what more remains to be said? Yet, as if unsatisfied, he turned to his brother Sanandana and spoke again. “Though I hear the stories of Hari again and again, my Self is not yet fully content. Even after attaining great perfection, I remain indifferent both within and without. Tell me, how did the son of Vyasa—though still a child—come to possess such profound knowledge?” He continued, “O greatly fortunate one, you understand the meaning of the scriptures. Please recount their essence to me. O sage, tell me that by hearing which a person becomes a knower of the truth of Brahman. The sages practiced righteousness, and among us, the one who has studied is truly great. Tell me that act, for I am eager to hear. By knowing what does a person become skilled in all the Vedas and their branches? The wise know the science of meter and the six limbs of debate. The four Vedas alone are declared to be the foundation for the determination of dharma. One who has truly studied them prevails; not otherwise, even with crores of other texts. You, among us, are greatly learned in these branches, O bestower of honor.” The sage replied, “I will tell you in brief the certain essence of these teachings. Listen to what the knowers of the Vedas have said about the Vedas. At the conclusion of the ritual, the science of tones must especially be applied. In the Sāma chants, one should know that the interval between tones is threefold. If there is ignorance of this instruction, the chanting becomes out of tune. Such speech, like a thunderbolt, can destroy the sacrificer, just as Indra’s enemy was ruined by a mistake in tone. These chants are recited at the Soma sacrifices; or, in the Sāma, the interval is half. And if you are not able to express it clearly, thus is the rule for recitation. In the Ṛgveda and Sāmaveda, the first tone must be uttered. The tone called ‘pārthiva’ consists of a combination of high and medium pitches. The second and subsequent tones, ending in the low pitch, are the Taittirīyas with four tones. O sage among sages, the Sāma singers produce the low and high tones. Likewise, in the Śatapatha Brāhmaṇa, these two tones belong to the Vājasaneyins. Thus, all this practice of tones is universal to the Vedas. The branch of the Sāmaveda, though concise in text, is abundant in meaning and is considered supreme. It is pure, purifying, and auspicious, as has been proclaimed to you. The musical scale is based on seven tones, and there are twenty-one modes of modulation. The names of the tones are Ṣaṅja, Ṛṣabha, Gāndhāra, and Madhyama. Ṣaṅja, Madhyama, and Gāndhāra are declared as the grāmas, or musical scales. Svarga, Abhra, and Gāndhāra are the three positions of the grāma. There are twenty in the Madhyama grāma, and fourteen in the Ṣaṅja grāma. The names of the modes are Nadī, Viśālā, Sumukhī, Citrā, Citravatī, and Mukhā; also, Āpyāyinī, Viśvabhṛtā, Candrā, Hemā, and Kapardinī. Thus, the sacred science of sound and its application in the Vedas was expounded, revealing the depth and subtlety of the ancient wisdom.