अतिसंधीयते यस्मादेतान्पूर्वोत्थितान्स्वरान्
Because it connects those notes that arose earlier.
निषीदन्ति स्वरा यस्मान्निषादस्तेन हेतुना
Because the notes settle, it is called Niṣāda for that reason.
सर्वांश्चाभिभवत्येष यदादित्यो ऽस्य दैवतम्
This one overcomes all, since the Sun is its deity.
दारवी गात्रवीणा च द्वे वीणे गानजातिषु
Dāravī and Gātravīṇā are two types of vīṇā among musical lineages.
गात्रवीणा तु सा प्रोक्ता यस्यां गायन्ति सामङ्गाः
Gātravīṇā is so called, in which the singers of Sāma chant.
हस्तौ तु संयतौ धार्यौं जानुभ्यामुपरिस्थितौ
The hands should be joined and held, placed above the knees.
प्रणवं प्राक्प्रयुञ्जीत व्याहृतीस्तदनन्तरम्
One should first recite praṇava, then the vyāhṛtis immediately after.
प्रसार्य चाङ्गुलीः सर्वा रोपयेत्स्वरमण्डलम्
Having spread all the fingers, one should arrange the circle of notes.
विरला नाङ्गुलीः कुर्यान्मूले चैतां न संस्पृशेत्
One should keep the fingers apart and not touch their base.
मात्राद्विमात्रवृद्धानां विभागार्थे विभागवित्
For those who are two or more measures older, the division should be made by one who knows division.
त्रिरेखा यस्य दृश्यते सिद्धिं तत्र विनिर्दिशेत्
Where three lines are seen, there one should declare success.
पर्वान्तरं सामसु च ऋक्षु कुर्यात्तिलान्तरम्
At the end of a section, and in Sāman and Ṛk verses, one should make a sesame-seed-sized gap.
न चात्र कंपयेत्किञ्चिदङ्गस्यावयवं बुधः
And here, the wise should not shake any part or limb of the body.
अभ्रमध्ये यथा विद्युदृश्यते मणिसूत्रवत्
As lightning appears in the midst of clouds, like a string of jewels—
कूर्मो ऽगानि च संहृत्य चेतोदृष्टिं दिशन्मनः
Withdrawing the limbs like a tortoise, one should direct the mind and gaze with intent.
नासिकायास्तु पूर्वेण हस्तं गोकर्णवद्धरेत्
Holding the hand before the nose, one should keep it like a cow’s ear.
सम्यक्प्रचारयेद्वाक्यं हस्तेन च मुखेन च
One should articulate the words properly, both with the hand and with the mouth.
नात्याहन्यान्न निर्हण्यान्न प्रगायेन्न कंपयेत्
One should neither speak too loudly nor too softly, nor sing, nor shake.
यथा सुचरतां मार्गो मीनानां नोपलभ्यते
Just as the path of fish moving well is not perceived—
यथा दधिनि सर्पिः स्यात्काष्टस्थो वा यथानलः
Just as ghee is in curds, or as fire is in wood—
स्वरात्स्वरस्य संक्रामंस्वरसंधिमनुल्बणम्
The transition from one note to another should be smooth at the junction of notes.
अनागतमतिक्रान्तं विच्छिन्नं विषमाहतम्
A note that is not yet sounded, that is passed over, that is broken, or that is struck unevenly—
स्वरः स्थानाच्च्युतो यस्तु स्वं स्थानमतिवर्तते
A note that departs from its place or exceeds its own position—
अभ्यासार्थे द्रुतां वृत्तिं प्रयोगार्थे तु मध्यमाम्
For practice, a fast style; for performance, a moderate one.
गृहीतग्रन्थ एवं तु ग्रन्थोञ्चारणशैक्षकान्
Thus, the text that is learned should be recited by those who are students of recitation.
क्रुष्टस्य मूर्द्धनि स्थानं ललाटे प्रथमस्य तु
The place of the high note is on the crown of the head; for the first note, it is on the forehead.
कण्ठस्थानं चतुर्थस्य मन्द्रस्य रसनोच्यते
The place of the fourth note in the lower register is said to be the tongue.
अङ्गुष्टस्योत्तमे व्रुष्टो ह्यङ्गुष्टं प्रथमः स्वरः
When the thumb is at its highest, the thumb produces the first note.
अनामिकायां षङ्गस्तु कनिष्टायां तु धैवतः
The sixth note is on the ring finger, and the seventh, Dhaivata, is on the little finger.
अपर्वत्वादमध्यत्वा दव्ययत्वाञ्च नित्यशः
Absence of intervals, being in the middle, and being always variable are constant.