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.
कनकाभस्तु गान्धारो मध्यमः कुन्दसन्निभः
Gāndhāra is golden in appearance; Madhyama resembles the jasmine.
निषादः सर्ववर्णः स्यादित्येताः स्वरवर्णताः
The Niṣāda is considered to belong to all castes; these are the characteristics of the svara-varṇas.
ऋषभो धैवतश्चापीत्येतौ वै क्षत्रियावुभौ
Ṛṣabha and Dhaivata—these two are both regarded as Kṣatriyas.
शूद्रत्वं विधिनार्द्धेन पतितत्वान्न संशयः
Śūdra status is determined by half the rule; there is no doubt regarding its fallen condition.
निपतति मध्यमरागे स निषादं षाङ्जवं विद्यात्
When it descends in the middle tone, one should recognize the Niṣāda as belonging to the Ṣāṅjava class.
ऋषभो निषादसहितस्तं पञ्चममीदृशं विद्यात्
Ṛṣabha together with Niṣāda—such is known as the fifth (pañcama) of this kind.
धैवतस्य च दौर्बल्यान्मध्यमग्राम उच्यते
Because of the weakness of Dhaivata, it is called the Madhyama grāma.
धैवतः कंपितो यत्र स षङ्गयाम ईरितः
Where Dhaivata is vibrated, it is referred to as Ṣaṅgayāma.
तं तु साधारितं विद्यात्पञ्चमस्थं तु कैशिकम्
That should be known as Sādhārita; the fifth (pañcama) is called Kaiśika.
यस्मा त्तु मध्यमे न्यासस्तस्मात्कैशिकमध्यमः
Because the resting place is in Madhyama, therefore it is called Kaiśika Madhyama.