Let me share with you the ancient wisdom of music as preserved in the sacred Vyāsa Purāṇa. The system of musical notes, as taught by the sages, is vast and intricate: there are seven fundamental notes, three principal scales, and twenty-one distinct modes, all woven together with fifty-one rhythms. This is the foundation upon which the art of music rests. The seven notes are Ṣaḍja, Ṛṣabha, Gāndhāra, Madhyama, Pañcama, Dhaivata, and Niṣāda. Each has its own character and place, and understanding them is essential for any musician. Within the Madhyama scale, there are particular varieties: Sauvīrī and Hariṇāsyā, and the fourth, pure Madhyamā, which is endowed with its own time and strength. The modes known as Śārṅgī, Pāvanī, and Dṛṣṭākā are recognized as belonging to the Madhyamagrāma. Now, let us turn to the Ṣaḍjagrāma. In the Ṣaḍjagrāma, the modes are Uttaramandrā, Rajanī, Uttarāyatā, pure Ṣaḍjā, and the seventh, each to be known by name. There are also other Gāndhāra scales to be mentioned. The first is Āgniṣṭomika, followed by Vājapeyika. Pauṇḍraka is the third, Āśvamedhika the fourth, Rājasūya the fifth, and Cakrasuvarṇaka the sixth. Gosava stands as the seventh, Mahāvṛṣṭika as the eighth, Brahmadāna as the ninth, and Prājāpatya comes next. Further, there are Nāgapakṣāśraya and Gotara, Hayakrānta, Mṛgakrānta, and the delightful Viṣṇukrānta. Sūryakrānta, Vareṇya, and the mode sung by the intoxicated cuckoo, Sāvitra, half-Sāvitra, and Madrama in all directions are also known. Suvarṇa and Sutandra, both Viṣṇu and Vaiṣṇuvara, Sāgara and Vijaya—all these are enchanting to all beings. Haṃsa, Jyeṣṭha, and Tumburu’s favorite; the delightful Madhātrya, and the one accompanied by Gandharvas; the mode dear to Alambuṣā, the one favored by Nārada, the one told by Bhīmasena, and the one beloved of the Nāgas—all these are celebrated. Karopanīta, Vinatā, Śrīrākhya, dear to Bhṛgu—twenty of these belong to the Madhyamagrāma, and fourteen to the Ṣaḍjagrāma. Likewise, fifteen are cherished by those settled in Gandhara villages. Gandhari, together with Sauvira, is praised by Brahma. Of the northern tone, Brahma is the presiding deity. Born in the land of Hari, it was produced from Hari’s mouth, with its modulation also from Hari’s mouth, and Indra as its deity. The Maruts spread and bring forth this tone in the realm of sound, and Marut is its deity. Born in the land of Manu, the modulation is pure Madhyama, with Gandharva as the deity. It moves together with deer, showing the path for the Siddhas, and is thus called Margi, with Mrigendra as its deity. This modulation is associated with hermitages, with many Pauravas and Ravas; it is the union of night and dust. The tala known as Uttaramandra has six deities, and its first form, Uttaratala, is extended, with Dhruva as its deity. Because of its northernness from Apana and of Dhaivata, this modulation is thus, and the Pitrs are the deities for ancestral rites. When the pure Shadja tone is established, the great sages worship Agni, and thus it is called pure Shadja. Whoever creates a virtuous modulation becomes the fifth tone; this modulation of the Yakshas is known as Yakshika. The vision of the Nagas is poison; songs do not approach their modulation, which is taken away by Brahma. The Nagas are its deities, and Varuna presides over this modulation. By comparing with birds, the Kinnaras attain the highest modulation, and the king of birds is its deity. The Gandhara melody sustains the earth in meaning, and the pure Gandhari has Gandharva as its presiding deity. Following Gandhara, Uttara Gandhari modulation is created, and the Vasus are its deities. This is a great element, established by the grandfather, and the modulation of Shadja is remembered as having Agni as its deity. This divine and extended modulation is the slow sixth; those named with ceased qualities, and the fifth here is Dhaivata. Thus, the seven tones are complete, and the modulations are described; six are not common, and six are subordinate. Having understood the teachings of the earlier masters, I will now declare, in order, thirty embellishments. Listen as I recite them. Ornamentations are described according to their own syllables and causes, as well as by the arrangement and combination of feet, and by careful examination. The fulfillment of ornamentation is achieved through the connection of meaning, words, and phrases; the words of a song are placed either at the beginning or at the end. There are three positions to be known: chest, throat, and head. Among these, the best method is practiced. There are four natural syllables, four kinds of analysis, and eight variations, which the gods know as sixteenfold. Experts in syllables know the steady syllable, the moving one, the third as descending, and the fourth as ascending. Among these, one is both moving and steady, becoming both with and without movement; and for the ascending syllables, the descending is also indicated. By ascending, experts know the ascending syllable; now, learn of the ornamentations belonging to these syllables. There are four ornamentations: establishment, sequential movement, error, and non-error. I shall now describe their characteristics. Thus, the sacred system of music, its notes, scales, modes, rhythms, deities, and ornamentations, is revealed—each element harmoniously intertwined, each with its own meaning and power, all upheld by the wisdom of the ancients.