Let us contemplate the sacred science of music as revealed in the scripture. The pure note known as Gandhara is so named because it carries a natural fragrance, a subtle essence that pervades its sound. Positioned at the navel, the middle note holds its central place among the others, establishing its importance at the core of musical expression. This centrality is further affirmed by the fact that it arises from five distinct places, thus earning the designation of the “fifth” note. In truth, the other five notes, too, are each known to originate from five places, revealing a harmonious structure underlying the entire scale. Among these, the note Ṣaṅja is sung in connection with fire, and Ṛṣabha is said to be of the very essence of Brahman. The fifth note is sung by you, O seeker, and thus you should understand its significance accordingly. The wise declare that the deity of the first note is Brahma, and this is also true for Ṣaṅja; both are presided over by the great creator. Just as cows are pleased when they are led, so too is Gandhara pleasing, and it is named thus for this reason. The deity of the fifth note, according to the teachings of Brahmarādras, is Soma, the divine elixir. This note serves as a connector, joining together those notes that have arisen earlier. The note called Niṣāda is so named because it is where all the notes settle and find their rest. This note is said to overcome all, for its presiding deity is the radiant Sun. In the tradition of musical lineages, there are two celebrated types of vīṇā: Dāravī and Gātravīṇā. The Gātravīṇā, in particular, is renowned as the instrument with which the singers of the Sāma chant the sacred hymns. When performing, one should join and hold the hands, placing them above the knees in a posture of attentiveness. The recitation should begin with the sacred praṇava, followed immediately by the utterance of the vyāhṛtis. With fingers spread wide, the circle of notes should be arranged, ensuring that the fingers remain apart and do not touch their base. For those who are advanced in age or experience—two or more measures older—the division of notes should be made by one who is knowledgeable in the art of division. Where three lines are visible, success in the practice should be declared. At the end of each section, whether in the Sāman or in Ṛk verses, a small gap, the size of a sesame seed, should be observed. Throughout, the wise practitioner should not shake any part or limb of the body. The beauty of this practice is likened to lightning flashing amidst clouds, or to a string of shining jewels. Withdrawing the limbs like a tortoise, one should direct both mind and gaze with unwavering intent. The hand should be held before the nose, shaped like the ear of a cow, and the words should be articulated clearly, both with the hand and the mouth. The voice should be neither too loud nor too soft, neither sung nor shaken. Just as the path of a fish moving swiftly through water is unseen, or as ghee resides hidden within curds, or fire within wood, so too should the transition between notes be smooth and seamless at their junctions. One must avoid notes that are unsounded, skipped, broken, or struck unevenly; likewise, a note should not stray from its proper place or exceed its intended position. For practice, a fast style is recommended, but for performance, a moderate pace is best. In this way, the text that has been learned should be recited by those who are students of this venerable tradition. The high note finds its place at the crown of the head, while the first note resides at the forehead. The fourth note in the lower register is said to rest upon the tongue. When the thumb is raised to its highest, it produces the first note; the sixth note is played with the ring finger, and the seventh, known as Dhaivata, with the little finger. Three principles remain constant: the absence of intervals, the presence of a central note, and the ever-changing nature of the notes themselves. The gods are said to live by the highest note, while humans dwell in the realm of the first note. Thus is the sacred knowledge of music and its divine order revealed.