Kaśyapa, the revered sage, once explained the origins and mysteries of musical notes and instruments. He declared that the note known as Kaiśika is born from the Madhyama grāma, the central scale. Among the instruments, the one called ‘Veti’ is especially cherished by the Gandharvas, the celestial musicians, who delight in its sound. He described the order of the notes: the second is Gandhāra, and the third is remembered as Ṛṣabha. The sixth note is known as Niṣāda, while the seventh is called Pañcama. In the realm of animals, the sheep is said to express Gandhāra, and the kraiñca bird calls out Madhyama. The horse gives voice to Dhaivata, and the elephant to Niṣāda. Each note, Kaśyapa explained, has its own unique quality and origin within the body. Gandhāra is produced with a nasal resonance, while Madhyama arises from the chest. Dhaivata comes from the forehead, and Niṣāda is born from all the joints. The note called Ṣāṅja receives its name because it is produced from the sound Ṣaṅ. Ṛṣabha is so called because its sound resembles that of a bull. Gandhara is named for its purity and fragrance, and the central note, Madhyama, holds its position at the navel, signifying its centrality. Pañcama, the fifth note, is established as such because it arises from five places, and so do the other five notes, each originating from five distinct sources. In the sacred rituals, Ṣaṅja is sung in the fire, while Ṛṣabha is associated with Brahman. The fifth note, Pañcama, is to be sung by the devotee, understanding its significance. The deities presiding over the notes are also revealed: Brahma is the deity of the first note and of Ṣaṅja, as taught by the wise. Gandhara, pleasing to cows when they are led, receives its name for this reason. Soma, the moon god, is remembered as the deity of the fifth note, as stated by Brahmarādras, because this note connects those that arose earlier. Niṣāda is so called because it is where the notes settle. It is said to overcome all, for the Sun is its deity. Among the musical instruments, two types of vīṇā are renowned: Dāravī and Gātravīṇā. The Gātravīṇā is so named because it is the instrument through which the singers of Sāma chant their hymns. Kaśyapa then instructed on the proper posture and ritual for singing. The hands should be joined and held above the knees. First, one should recite the sacred syllable praṇava, followed immediately by the vyāhṛtis. With all the fingers spread, the circle of notes should be arranged, keeping the fingers apart and not touching their base. When dividing the measures, the task should be undertaken by one who is knowledgeable, especially for those who are two or more measures older. Where three lines are seen, success should be declared. At the end of a section, and within Sāman and Ṛk verses, a small gap, the size of a sesame seed, should be observed. Throughout the practice, the wise should keep the body still, not shaking any limb. The posture should be graceful and composed, like lightning flashing within clouds or a string of jewels. Withdrawing the limbs like a tortoise, the mind and gaze should be focused with intent. The hand should be held before the nose, shaped like a cow’s ear, and the articulation of words should be precise, coordinated with both hand and mouth. One should neither speak too loudly nor too softly, nor sing, nor shake. Just as the path of fish moving in water is subtle and unseen, and just as ghee is hidden in curds or fire in wood, so too should the transition from one note to another be smooth and seamless at their junctions. Thus, with reverence and attention, the mysteries of music are honored and revealed.