सामसु त्र्यन्तरं विद्यादेतावत्स्वरतो ऽन्तरम्
In the Sāma chants, one should know that the interval between tones is threefold.
अविज्ञानाद्धि शिक्षायास्तेषां भवति विस्वरः
Due to ignorance of instruction, their chanting becomes out of tune.
स वाग्वज्रो यजमानं हिर्नास्ति यथेन्द्रशत्रुः स्वरतो ऽपराधात्
That speech, like a thunderbolt, destroys the sacrificer, just as Indra's enemy was ruined by a mistake in tone.
सवनान्याहुरेतानि साम वाप्यर्द्धतोंऽतरम्
These are recited at the Soma sacrifices; or in the Sāma, the interval is half.
न च शक्तो ऽसि व्यक्तस्तु तथा प्रावचना विधिः
And you are not able to express it clearly; thus is the rule for recitation.
ऋग्वेदे सामवेदे च वक्तव्यः प्रथमः स्वरः
In the Ṛgveda and Sāmaveda, the first tone must be uttered.
उच्चमध्यमसंघातः स्वरो भवति पार्थिवः
The tone called 'pārthiva' consists of a combination of high and medium pitches.
द्वितीयाद्यास्तु मद्रान्तास्तैत्तिरीयाश्चतुःस्वरान्
The second and subsequent, ending in the low pitch, are the Taittirīyas with four tones.
मन्द्रः क्रुष्टो मुनीश्वर एतान्कुर्वन्ति सामगाः
O sage among sages, the Sāma singers produce the low and high tones.
तथा शातपथावेतौ स्वरौ वाजसनेयिनाम्
Likewise, in the Śatapatha, these two tones belong to the Vājasaneyins.
इत्येतञ्चरितं सर्वं स्वराणां सार्ववैदिकम्
Thus, all this practice of tones is universal to the Vedas.
अल्पग्रन्थं प्रभूतार्थं सामवेदाङ्गमुत्तमम्
The branch of the Sāmaveda is concise in text but abundant in meaning, and is supreme.
पवित्रं पावनं पुण्यं यथा तुभ्यं प्रकीर्तितम्
It is pure, purifying, and auspicious, as has been proclaimed to you.
सप्त स्वरास्रयो ग्रामा मृर्छनास्त्वेकविंशतिः
The scale is based on seven tones, and there are twenty-one modes of modulation.
षङ्जश्च ऋषभश्चैव गान्धारो मध्यमस्तथा
Ṣaṅja, Ṛṣabha, Gāndhāra, and Madhyama are thus named.
षङ्जमध्यमगान्धारास्ररयो ग्रामाः प्रकीर्तिताः
Ṣaṅja, Madhyama, and Gāndhāra are declared as the grāmas (musical scales).
स्वर्गाभ्राञ्चैव गान्धारो ग्रामस्थानानि त्रीणि हि
Svarga, Abhra, and Gāndhāra are indeed the three positions of the grāma.
विंशतिर्मध्यमग्रामे षङ्जग्रामे चतुर्दश
There are twenty in the Madhyama grāma, and fourteen in the Ṣaṅja grāma.
नदी विशाला सुमुखी चित्रा चित्रवती मुखा
Nadī, Viśālā, Sumukhī, Citrā, Citravatī, and Mukhā.
आप्यायिनी विश्वभृता चन्द्रा हेमा कपर्दिनी
Āpyāyinī, Viśvabhṛtā, Candrā, Hemā, and Kapardinī.
षङ्जे तूत्तरमन्द्रा स्यादृषभे चाभिरूहता
In Ṣaṅja, Uttaramandrā is found; in Ṛṣabha, Abhirūhatā.
मध्यमे खलु सौवीरा हृषिका पञ्चमे स्वरे
In Madhyama, indeed, Sauvīrā and Hṛṣikā are in the fifth note.
निषादे रजनीं विद्यादृषीणां सप्त मूर्छनाः
In Niṣāda, one should know Rajanī; there are seven mūrchanās of the Ṛṣis.
पितॄणां मूर्च्छानाः सप्त तथा यक्षा न संशयः
There are seven mūrchanās of the Pitṛs, and likewise of the Yakṣas, without doubt.
षङ्जः प्रीणाति वै देवानृषीन्प्रीणाति चर्षभः
Ṣaṅja pleases the gods, and Ṛṣabha pleases the Ṛṣis.
देवान्पितॄनृषींश्चैव स्वरः प्रीणाति पञ्चमः
The fifth note pleases the gods, ancestors, and Ṛṣis.
गानस्य तु दशविधा गुणवृत्तिस्तु तद्यथा
The qualities and modes of song are tenfold, as follows:
काकस्वरं मूर्द्धगतं तथा स्थानविवर्जितम्
Kākasvara, mūrddhagata, and those lacking proper position.
व्याकुलं तालहीनं च गीतिदोषाश्चतुर्दश
Disturbed, lacking rhythm; these are the fourteen faults of singing.
स्रियो मधुरमिच्छन्ति विक्रुष्टमितरे जनाः
The fortunate desire sweetness; others desire elevation.