Application of Gān-s Gramgeyo-gāna: Sung in villages or towns. Aranyageya-gāna: Practiced in solitude of forest. Also called Rahasyageyo-gān. Ooh-gān: Pragatha-s specially created for yajna on basis of Gramgeyo-gāna. Oohya-gāna ऊह्यगान: Pragath-s created for yajna on basis of Rahasyageyo-gāna. Grām or Scale of Sāmveda Fox Strangways in Music of Hindustan says, "Vocal scales are conceived downwards. They are so conceived, because the telling notes of the voice in its upper register, and this presents itself, therefore as the starting point for a vocal scale." The Sāyana#-bhāshya (critique) on Sāma-vidhāna Brāhmin establishes that note of Sāma were of nidhana prakriti (diminishing nature) and followed a descending order. Swara of Sām In Naradiya Shiksha the seven notes of Sāma are First, Second, Third, Fourth, Mandra, Krushta and Atiswāra. This indicates that initially only three or four notes were used for Sāmagāna. Ārchik songs were sung on the basis of just one note, e.g. Sa Sa Sa, or Ni Ni Ni. This kind of chanting was well suited to Havana, Mantra-pātha and Japa Gāthik songs were hymns in praise of deities and used two notes, e.g. Ni Ni Ni Ni, Sa Sa Sa Sa. Sāmic songs for the first time used three notes. The word Sāmic is taken to mean three notes. The songs were like Ga Ga Re Re Sa Sa Sa. Apart from these three basic notes, the singers came across a fourth which they called Swarāntar . When they discovered a note lower than the lowest known note they called it Mandra. When a still lower note than Mandra was found they called it Atiswāra. A higher note determined was called Krushta after Sanskrit root Krush (to scream, speak loudly). So the complete Sāmic Saptak in descending order contains: First Note Second Note Third Note Fourth Note Fifth Note Sixth Note Seventh NoteKrushtaPrathamaDwitiyaTritiyaChaturthMandraAtiswārक्रुश्टप्रथमद्वितीयतृतीयचतुर्थमन्द्रअति-स्वार
Application of Gāna-s Gramgeyo-gāna: Sung in villages or towns. Aranyageya-gāna: Practiced in solitude of forest. Also called Rahasyageyo-gān. Ooh-gān: Pragatha-s specially created for yajna on basis of Gramgeyo-gāna. Oohya-gāna ऊह्यगान: Pragath-s created for yajna on basis of Rahasyageyo-gāna. Grām or Scale of Sāmaveda Fox Strangways in Music of Hindustan says, "Vocal scales are conceived downwards. They are so conceived, because the telling notes of the voice in its upper register, and this presents itself, therefore as the starting point for a vocal scale." The Sāyana#-bhāshya (critique) on Sāma-vidhāna Brāhmana establishes that note of Sāma were of nidhana prakriti (diminishing nature) and followed a descending order. Swara of Sāma In Naradiya Shiksha the seven notes of Sāma are First, Second, Third, Fourth, Mandra, Krushta and Atiswāra. This indicates that initially only three or four notes were used for Sāmagāna. Ārchika songs were sung on the basis of just one note, e.g. Sa Sa Sa, or Ni Ni Ni. This kind of chanting was well suited to Havana, Mantra-pātha and Japa Gāthik songs were hymns in praise of deities and used two notes, e.g. Ni Ni Ni Ni, Sa Sa Sa Sa. Sāmic songs for the first time used three notes. The word Sāmic is taken to mean three notes. The songs were like Ga Ga Re Re Sa Sa Sa. Apart from these three basic notes, the singers came across a fourth which they called Swarāntara . When they discovered a note lower than the lowest known note they called it Mandra. When a still lower note than Mandra was found they called it Atiswāra. A higher note determined was called Krushta after Sanskrit root Krush (to scream, speak loudly). So the complete Sāmic Saptaka in descending order contains: First Note Second Note Third Note Fourth Note Fifth Note Sixth Note Seventh NoteKrushtaPrathamaDwitiyaTritiyaChaturthaMandraAtiswāraक्रुश्टप्रथमद्वितीयतृतीयचतुर्थमन्द्रअति-स्वार
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Gān-s
Gāna-s
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Sāmveda
Sāmaveda
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Brāhmin
Brāhmana
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Sām
Sāma
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Ārchik
Ārchika
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Swarāntar
Swarāntara
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Saptak
Saptaka
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NoteKrushtaPrathamaDwitiyaTritiyaChaturthMandraAtiswārक्रुश्टप्रथमद्वितीयतृतीयचतुर्थमन्द्रअति-स्वार
NoteKrushtaPrathamaDwitiyaTritiyaChaturthaMandraAtiswāraक्रुश्टप्रथमद्वितीयतृतीयचतुर्थमन्द्रअति-स्वार