Let me tell you the story as revealed in these verses. The practice of musical tones is universal to all the Vedas, forming their very foundation. Among them, the branch of the Sāmaveda stands out: though concise in its text, it is abundant in meaning and holds the highest place. Its essence is pure, purifying, and auspicious, as has already been proclaimed. The musical scale is based upon seven tones, and there are twenty-one distinct modes of modulation. The tones are named Ṣaṅja, Ṛṣabha, Gāndhāra, and Madhyama. Of these, Ṣaṅja, Madhyama, and Gāndhāra are recognized as the principal grāmas, or musical scales. Within each grāma, there are three positions: Svarga, Abhra, and Gāndhāra. In the Madhyama grāma, twenty modes are found, and in the Ṣaṅja grāma, fourteen. Among the various modes and melodies, names such as Nadī, Viśālā, Sumukhī, Citrā, Citravatī, and Mukhā are known. Others include Āpyāyinī, Viśvabhṛtā, Candrā, Hemā, and Kapardinī. In the Ṣaṅja grāma, Uttaramandrā is found; in Ṛṣabha, Abhirūhatā. In Madhyama, the fifth note contains Sauvīrā and Hṛṣikā. In Niṣāda, Rajanī is known. There are seven mūrchanās—musical progressions—of the Ṛṣis, as well as seven of the Pitṛs and seven of the Yakṣas, without any doubt. Each tone has its own pleasing effect: Ṣaṅja pleases the gods, Ṛṣabha pleases the Ṛṣis, and the fifth note pleases gods, ancestors, and Ṛṣis alike. The qualities and modes of song are tenfold, and there are faults to avoid: Kākasvara, mūrddhagata, and those lacking proper position; disturbed and lacking rhythm—these fourteen faults mar the singing. The fortunate seek sweetness in song, while others desire elevation. Each tone is distinguished by its appearance and nature: Gāndhāra shines golden, Madhyama resembles the jasmine flower. Niṣāda belongs to all castes, and these are the characteristics of the svara-varṇas. Ṛṣabha and Dhaivata are both regarded as Kṣatriyas, while Śūdra status is determined by half the rule, with no doubt regarding its fallen condition. When Niṣāda descends in the middle tone, it is recognized as belonging to the Ṣāṅjava class. Ṛṣabha together with Niṣāda forms the fifth, or pañcama, of this kind. Because of the weakness of Dhaivata, the scale is called Madhyama grāma. Where Dhaivata is vibrated, it is known as Ṣaṅgayāma. This should be understood as Sādhārita, and the fifth is called Kaiśika. Since its resting place is in Madhyama, it is called Kaiśika Madhyama. Kaśyapa taught that Kaiśika arises from the Madhyama grāma. ‘Veti’ is the name given to the instrument, and it is the delight of the Gandharva. The second tone is Gandhāra, and the third is remembered as Ṛṣabha. The sixth is known as Niṣāda, and the seventh as Pañcama. Among animals, Gandhāra is spoken by the sheep, while the Kraiñca bird declares Madhyama. The horse utters Dhaivata, and the elephant utters Niṣāda. Gandhāra is nasalized, Madhyama is sung from the chest. Dhaivata is produced from the forehead, and Niṣāda arises from all the joints. Because it is produced from Ṣaṅ, the tone is called Ṣāṅja. And because it sounds like a bull, it is called Ṛṣabha. Thus, the sacred science of musical tones and their qualities, as revealed through the Vedas, is described, showing their purity, their auspiciousness, and their profound connection to the divine, the sages, and all beings.