In the sacred tradition, there exists a wondrous array of musical modes and melodies, each enchanting to all beings. Among these, Suvarṇa and Sutandra shine brightly, as do Viṣṇu and Vaiṣṇuvara, their beauty captivating every heart. Sāgara and Vijaya, too, are celebrated for their charm. Haṃsa, Jyeṣṭha, and Tumburu’s cherished mode are counted among these, alongside the delightful Madhātrya and the melody accompanied by the Gandharvas. There is also the mode beloved by Alambuṣā, and another favored by Nārada; Bhīmasena recounts the one dear to the Nāgas. Karopanīta, Vinatā, and Śrīrākhya, beloved of Bhṛgu, are named among these modes. Of these, twenty belong to the Madhyamagrāma, and fourteen to the Ṣaḍjagrāma. Likewise, fifteen are desired by those settled in the Gandhara villages. Gandhari, together with Sauvira, is especially praised by Brahma. In the northern tone, Brahma is the presiding deity. Born in the land of Hari, it is said that Hari’s own mouth produced this tone, and its modulation is attributed to Hari’s mouth, with Indra as its guardian. Spread and brought forth by the Maruts in the realm of sound, this modulation arises in the age, and Marut is its deity. Born in the land of Manu, the modulation is pure Madhyama; here, the pure Madhyama tone is honored, and Gandharva is its deity. This mode moves in harmony with deer, showing the way for the Siddhas, and is thus called Margi, with Mrigendra as its presiding divinity. Associated with hermitages and the many Pauravas and Ravas, this modulation is known as the union, and so night is mingled with dust. The tala called Uttaramandra has six deities; thus, the first Uttaratala is recognized as extended, and Uttaramandra is here, with Dhruva as its deity. Because of its northern quality from Apana and from Dhaivata, this modulation is thus established, and the Pitrs are its deities for rites related to ancestors. By establishing the pure Shadja tone, the great sages worship Agni, and thus this is known as the pure Shadja. Whoever, having fashioned the modulation of the virtuous, becomes the fifth tone; this modulation of the Yakshas is known as Yakshika. The vision of the Nagas is poison, and songs do not approach this modulation. These are taken away by Brahma, with the Nagas as the deities; this is the modulation of the serpents, and Varuna is its guardian. By making comparisons with birds, the Kinnaras attain the highest modulation, and the king of birds is its deity. Through the sound of the Gandhara melody, the earth is sustained in meaning; thus, the pure Gandhari is honored, with Gandharva as its presiding deity. After Gandhara, this modulation is created; therefore, Uttara Gandhari arises, and the Vasus are its deities. This is the great element, established by the grandfather, and so this modulation of Shadja is remembered as having Agni as its deity. This modulation is divine and extended, slow in its sixth, and those named with ceased qualities, with the fifth here as Dhaivata. Thus, the seven tones are complete, and their modulations are described; likewise, six are uncommon, and six are subordinate. Having understood the doctrine of the former teachers, the sage declares in order thirty embellishments, inviting attentive listeners to hear them recited. Ornamentations are described according to their own syllables and causes, as well as by the arrangement and combination of feet, and through careful examination. The fulfillment of ornamentation is said to be achieved by connecting meaning, words, and phrases; the words of a song may be placed at the beginning or at the end. Three positions are recognized: chest, throat, and head, and among these, the best method is practiced. There are four natural syllables and four kinds of analysis, and eight variations known to the gods as sixteenfold. Experts in syllables know the steady syllable, the moving one, the descending third, and the ascending fourth. 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 recognize the ascending syllable, and now the ornamentations belonging to these syllables are to be learned. There are four ornamentations: establishment, sequential movement, error, and non-error. Their characteristics are now described: the visvara, uṣṭra, and kalā move to the next position; in the cycle, two arise in sequence, determined by measure. One should know kumāra as another, which extends and moves away; and the apāṅga is one more than the kalā. The śyena arises at the next interval, remaining within the measure of a kalā; in that note, an increase occurs, distinct from the previous. Śyena is the descending one, called the superior; by the measure of kalā and its group, it is known as bindu. The bindu is made as one kalā, remaining at the end of a syllable; even a reversed note may occur, but not with difficulty. The highest note is the one at the next interval from the base ṣaḍja; the act of raising and lowering should be performed, as in the high note of the crow. The two, called santāra, are to be moved, and so too the cause; even when raised or lowered, they are sprinkled in the same way. The place of twelve kalās is at the next interval; the ornamentation called preṅkholita is thus endowed with notes. Through the transition of notes, puṣkala is then described; it is inserted by a kalā between the feet and the others. Whatever is diminished by two kalās is called reduced; and when pronounced, it rises to the note called visvara, as well as to the eighth note. Thus, the sacred tradition of music and its ornamentations is revealed, each mode, tone, and embellishment bearing its own divine origin and presiding deity, woven together in the tapestry of sound that uplifts and enchants all creation.