In the ancient wisdom of music, the tradition describes the wondrous qualities and origins of the notes and modes. In the Ṣaṅja mode, the note known as Uttaramandrā is found, while in the Ṛṣabha mode, Abhirūhatā arises. Moving to the Madhyama mode, the notes Sauvīrā and Hṛṣikā are present in the fifth tone. In the Niṣāda mode, one should know of Rajanī, and it is said that there are seven mūrchanās, or melodic progressions, associated with the Ṛṣis. Likewise, seven mūrchanās belong to the Pitṛs, the ancestors, and also to the Yakṣas, without doubt. The Ṣaṅja note is especially pleasing to the gods, while Ṛṣabha delights the Ṛṣis. The fifth note, known as Pañcama, pleases the gods, ancestors, and Ṛṣis alike. The qualities and modes of song are tenfold, and among them are Kākasvara, mūrddhagata, and those lacking proper position. There are faults to avoid in singing, such as disturbed or unsteady notes and a lack of rhythm; in all, fourteen faults are recognized. The fortunate seek sweetness in music, while others desire elevation. The Gandhāra note shines with a golden appearance, and Madhyama resembles the whiteness of jasmine. The Niṣāda note is considered to belong to all castes; these are the characteristics of the svara-varṇas, the colors of the notes. Ṛṣabha and Dhaivata are both regarded as Kṣatriyas by tradition. The status of Śūdra is determined by half the rule, and its fallen condition is certain. When the Niṣāda descends in the middle tone, it should be recognized as belonging to the Ṣāṅjava class. Ṛṣabha together with Niṣāda is known as the fifth, Pañcama, of this kind. Because of the weakness of Dhaivata in the scale, it is called the Madhyama grāma. Where Dhaivata is vibrated, it is referred to as Ṣaṅgayāma. This should be known as Sādhārita, and the fifth note is called Kaiśika. Because its resting place is in Madhyama, it is named Kaiśika Madhyama. The sage Kaśyapa declared that Kaiśika arises from the Madhyama grāma. ‘Veti’ is the designation for the musical instrument, and it is the delight of the Gandharva musicians. The second note is Gandhāra, and the third is remembered as Ṛṣabha. The sixth note is known as Niṣāda, and the seventh as Pañcama. Among animals, Gandhāra is spoken by the sheep, Kraiñca declares Madhyama, the horse utters Dhaivata, and the elephant utters Niṣāda. Gandhāra is sung with a nasal tone, while Madhyama is produced from the chest. Dhaivata arises from the forehead, and Niṣāda comes forth from all the joints. Because it is produced from Ṣaṅ, it is called Ṣāṅja. Because it sounds like a bull, it is named Ṛṣabha. The pure Gandhara is so named because it carries fragrance. The middle note, Madhyama, attains its centrality by being positioned at the navel. Since Pañcama arises from five places, its fifthness is established, and the other five notes are also said to originate from five places. The note Ṣaṅja is sung in the fire, and Ṛṣabha is said to be of Brahman. The fifth note is sung by you, and thus it should be understood accordingly. The deity of the first note is Brahma, and so is that of Ṣaṅja, according to the wise. Cows are pleased when led, and Gandhara is named for this reason. Soma is remembered as the deity of the fifth note, as taught by Brahmarādras. The fifth note is praised because it connects those notes that arose earlier, binding the melody together in harmony.