Let us journey into the ancient wisdom of music as revealed in these verses. The note Gandhāra shines with a golden hue, while Madhyama resembles the delicate whiteness of jasmine. Niṣāda, unique among the notes, is said to belong to all castes, and thus, these are the distinguishing characteristics of the svara-varṇas—the musical notes and their qualities. Ṛṣabha and Dhaivata are both regarded as Kṣatriyas, reflecting their noble status. The Śūdra status is determined by a partial rule, and there is no doubt about its fallen condition. When Niṣāda descends in the middle tone, it is recognized as belonging to the Ṣāṅjava class. Together, Ṛṣabha and Niṣāda form what is known as the fifth, or Pañcama, of this type. Because Dhaivata is weak, this 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. Since its resting place is in Madhyama, it is called Kaiśika Madhyama. Kaśyapa himself declared that Kaiśika arises from the Madhyama grāma. ‘Veti’ is the name given to the musical instrument, and it is the delight of the Gandharvas. In the sequence of notes, Gandhāra is second, Ṛṣabha is third, Niṣāda is sixth, and Pañcama is seventh. Among animals, Gandhāra is spoken by the sheep, Kraiñca declares Madhyama, the horse utters Dhaivata, and the elephant utters Niṣāda. Gandhāra is a nasal tone, while Madhyama resonates from the chest. Dhaivata is known to arise from the forehead, and Niṣāda emerges from all the joints. Because Niṣāda is produced from Ṣaṅ, it is called Ṣāṅja. Ṛṣabha, sounding like a bull, is named accordingly. The pure Gandhara is so called because it carries fragrance. Madhyama, being positioned at the navel, attains its centrality. Since Pañcama arises from five places, its fifthness is established, and the other five notes also originate from five places. The note Ṣaṅja is sung in the fire, and Ṛṣabha is said to belong to Brahman. The fifth note is sung by you; thus, understand its significance. The first note’s deity is Brahma, and so is that of Ṣaṅja, as the wise declare. Gandhara is named for pleasing cows when they are led. Soma is remembered as the deity of the fifth note, according to the Brahmarādras, because it connects the notes that arose earlier. Since the notes settle, Niṣāda is named for this reason. Niṣāda overcomes all, for the Sun is its deity. Among the musical lineages, Dāravī and Gātravīṇā are two types of vīṇā. Gātravīṇā is so called because the singers of Sāma chant with it. When practicing, the hands should be joined and held, placed above the knees. One should first recite the praṇava, then immediately the vyāhṛtis. With all fingers spread, the circle of notes should be arranged, keeping the fingers apart and not touching their base. For those who are two or more measures older, the division should be made by one who knows how to divide. Where three lines are seen, there success is declared. Thus, the ancient wisdom of notes, their origins, their qualities, and their ritual practice are revealed, guiding the seeker in the sacred art of music.