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Samagana is primarily music. It contains musical structures. The text (mantras) were extracted from the Rgveda to sing these structures in the form of songs.<ref>History of Music – Samskrta  Tradition, Institute of Distance Education, University of Madras, Chennai. Pg.83-85</ref>

Samagana is primarily music. It contains musical structures. The text (mantras) were extracted from the Rgveda to sing these structures in the form of songs.<ref name=":0">History of Music – Samskrta  Tradition, Institute of Distance Education, University of Madras, Chennai. Pg.83-85</ref>

The Samaveda comprises two major parts. The first part include four melody collections (gāna, गान) and the second part three verse "books" (ārcika, आर्चिक).[2] A melody in the song books corresponds to a verse in the arcika books.[2] The Gana collection is subdivided into Gramageya and Aranyageya, while the Arcika portion is subdivided into Purvarcika and Uttararcika portions.[13] The Purvarcika portion of the text has 585 single stanza verses and is organized in order of deities, while Uttararcika text is ordered by rituals.[13] The Gramageya melodies are those for public recitations, while Aranyageya melodies are for personal meditative use such as in the solitude of a forest.[13] Typically, the Purvarcika collection were sung to melodies described in the Gramageya-Gānas index, and the rules of how the verses mapped to verses is described in the Sanskrit texts such as the Puspasutra.[13]

The Samaveda comprises two major parts – arcika and gaana.

The purpose of Samaveda was liturgical, and they were the repertoire of the udgātṛ or "singer" priests.[2]

Arcika is further divided into 2 parts – Purvarcika and uttararcika.

Samaveda samhita is not meant to be read as a text, it is like a musical score sheet that must be heard.[1]

The Purvarcika portion of the text has 585 rks (single stanza verses) and is organized in order of deities.<ref>Guy Beck (1993), Sonic Theology: Hinduism and Sacred Sound, University of South Carolina Press, <nowiki>ISBN 978-0872498556</nowiki>, page 230 note 85</ref> Each of them form the text (sahitya) for the samagana songs. While in uttararcika, the rks sung for sacrifices which are based on samagana are given in a sequence.

Staal states that the melodies likely existed before the verses in ancient India, and the words of the Rigveda verses were mapped into those pre-existing melodies, because some early words fit and flow, while later words do not quite fit the melody in the same verse.[1] The text uses creative structures, called Stobha, to help embellish, transform or play with the words so that they better fit into a desired musical harmony.[18][19] Some verses add in meaningless sounds of a lullaby, for probably the same reason, remarks Staal.[1] Thus the contents of the Samaveda represent a tradition and a creative synthesis of music, sounds, meaning and spirituality, the text was not entirely a sudden inspiration.[1]

Gana is of 4 kinds – Gramageyagana, Aranyagana, Uhagana and Uhya or Rahasyagana.

 

'''''The flow chart.'''''

 

Gramageyagana and Aranyagana are connected with purvarcika and are called Prakriti gana.<ref name=":0" />

The portion of the first song of Samaveda illustrates the link and mapping of Rigvedic verses into a melodic chant:[1]

The portion of the first song of Samaveda illustrates the link and mapping of Rigvedic verses into a melodic chant:[1]

— Samaveda 1.1.1, Translated by Frits Staal[1]

— Samaveda 1.1.1, Translated by Frits Staal[1]

— V. Raghavan, [7]

— V. Raghavan, [7]