Together with his daughter, Raivata once listened to the celestial music of the Gandharvas in the presence of Brahmā himself. In that sacred assembly, time flowed differently: what was but a fleeting moment for the Lord of gods stretched into many ages for mortals upon the earth. When at last Raivata returned, still youthful as before, he found his own city unchanged—a splendid place filled with Yādavas and transformed into the delightful Dvāravatī, adorned with many gates. The city was well protected by the Bhojas, Vṛṣṇis, and Andhakas, with Vasudeva at their head. There, Raivata, the destroyer of foes, listened to the true account of all that had transpired in his absence. With a pure heart, Raivata gave his virtuous daughter Revati in marriage to Baladeva. Having fulfilled his worldly duties, Raivata then departed for the summit of Mount Meru to dedicate himself to austerities. Rāma, the righteous one—Baladeva—enjoyed happiness with Revati. Hearing this remarkable story, the assembled sages were filled with wonder and inquired further. They asked, “O son of Sūta, after so many ages had passed, how is it that Revati did not grow old or become gray-haired? Tell us, O lord, how this could be. And how does the lineage of Raivata, the son of Sharyati who ascended Meru, still remain on earth even today? We wish to hear the truth of these matters. Also, how many and what kinds of hosts of gods and Gandharvas are there? We have heard that, in their presence, Raivata considered ages to be but a moment.” Sūta replied, “There, in Brahmaloka, there is no old age, no hunger, no thirst, nor fear of death. Disease does not touch one who has reached that realm. As for your questions about the Gandharva world, O virtuous sages, listen as I explain the truth. “In the system of music known to the Gandharvas, there are seven notes, three scales, and twenty-one modes, along with fifty-one rhythms. The seven notes are Ṣaḍja, Ṛṣabha, Gāndhāra, Madhyama, Pañcama, Dhaivata, and Niṣāda. “The Madhyama scale includes modes such as Sauvīrī and Hariṇāsyā, and the fourth, pure Madhyamā, is endowed with its own time and strength. The modes of the Madhyamagrāma are Śārṅgī, Pāvanī, and Dṛṣṭākā. Now hear of the Ṣaḍjagrāma: its modes are Uttaramandrā, Rajanī, Uttarāyatā, pure Ṣaḍjā, and the seventh, each with its own qualities. “Regarding the Gāndhāra scales, they are named Āgniṣṭomika, Vājapeyika, Pauṇḍraka, Āśvamedhika, Rājasūya, Cakrasuvarṇaka, Gosava, Mahāvṛṣṭika, Brahmadāna, and Prājāpatya. There are also Nāgapakṣāśraya, Gotara, Hayakrānta, Mṛgakrānta, and the delightful Viṣṇukrānta. Further, there are Sūryakrānta, Vareṇya, the one sung by the intoxicated cuckoo, Sāvitra, half-Sāvitra, and Madrama in all directions. “There are also Suvarṇa, Sutandra, both Viṣṇu and Vaiṣṇuvara, Sāgara, and Vijaya—each enchanting to all beings. Among others are Haṃsa, Jyeṣṭha, Tumburu’s favorite, the delightful Madhātrya, and the one accompanied by Gandharvas. Also beloved are the modes dear to Alambuṣā, Nārada, as told by Bhīmasena, and the one cherished by the Nāgas. There are Karopanīta, Vinatā, and Śrīrākhya, dear to Bhṛgu. “Twenty of these modes belong to the Madhyamagrāma, and fourteen to the Ṣaḍjagrāma. Likewise, fifteen are cherished by those settled in the Gandhara villages; Gandhari, together with Sauvira, is much praised by Brahma. “Of the northern tone, Brahma is the deity; it was born in the land of Hari, from Hari’s own mouth, and its modulation is also of Hari’s mouth, with Indra as its presiding deity. Spread and brought forth by the Maruts in the realm of sound, this tone arises in the age, and Marut is its deity. Born in the land of Manu, the modulation is pure Madhyama, and Gandharva is the deity. “There is a modulation called Margi, which moves together with deer, showing the path to the Siddhas; Mrigendra is its deity. Another modulation is associated with hermitages, and with many Pauravas and Ravas; this is the union, and so night is with dust. “The tala known as Uttaramandra has six deities; the first Uttaratala is known as extended, and its deity is Dhruva. Because of its northernness from Apana and Dhaivata, this modulation is thus; the Pitrs are the deities for ancestral rites. “By establishing the pure Shadja tone, the great sages worship Agni; thus, this is pure Shadja. Whoever creates the modulation of the virtuous becomes the fifth tone; that modulation of the Yakshas is known as Yakshika modulation. “The vision of the Nagas is poison; songs do not approach this modulation. These are indeed taken away by Brahma, and the Nagas are the deities, with Varuna as their lord. By comparison with birds, the Kinnaras attain the highest modulation, and the king of birds is the deity here. “By the sound of Gandhara melody, the earth is upheld in meaning; thus, the pure Gandhari is presided over by the Gandharva. Following Gandhara, another modulation is created, and so Uttara Gandhari is attended by the Vasus. “This is a great element, established by the grandfather, and so the modulation of Shadja is remembered as having Agni as its deity. This is divine and extended, the modulation is slow sixth; those named with ceased qualities, and the fifth here is Dhaivata. “Thus, O sages, is the wondrous system of music and its divine order, as known to the Gandharvas and the gods.