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Line 264: − + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + − # षड्ज (स) । Shadja (Sa)+ − # ऋषभ (रे)। Rishabh (Re) − # गान्धार (ग)। Gandhara (Ga) − # मध्यम (म)। Madhyam (Ma) − # पंचम (प)। Pancham (Pa) − # धैवत (ध)। Dhaivat (Dha) − # निषाद (नि)। Nishad (Ni) − − According to Naradiya Shiksha, Paniniya Shiksha and Yajnavalkya Shiksha, these cosmic notes have developed from the three basic notes Udatta, Anudatta and Swarit.<blockquote>उदात्ते निषादगान्धारौ अनुदात्ते ऋषभधैवतौ । स्वरितप्रभाव ह्येते षड्जमध्यमपञ्चमाः ॥ </blockquote>To represent these notes, numbers 1,2,3 are given on the Samavedic mantras. Their meaning is 1 = उदात्त - Sublime, 2 स्वरित - Swarit 3 अनुदात्त - Anudatta. Similarly, numbers like 1, 2, 3 etc. respectively represent the seven notes like Madhyam, Gandhar, Rishabh etc. (in the order of Ma Ga Re..). − − Line 214:
Line 309: − + − + − Their function is to chant the Sama in auspicious rituals such as [[Yajna (यज्ञः)|yajnas]]. The Samaveda is also called 'Udgaatriveda' because it is associated with a priest named Udgaata.+ + − + − #https://sanskritdocuments.org/sites/prkannan/Sama%20Veda-%20An%20Introduction.pdf Book by Sri P.R. Kannan found at https://sanskritdocuments.org/sites/prkannan/ − #http://www.hindunet.org/vedas/samveda/index.htm
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}}Samaveda (Samskrit:सामवेदः) is the third of the [[The Four Vedas (चतुर्वेदाः)|Four Vedas]], and is the third of Vedatrayi. Samaveda is made up of mantras called as "Saman" or "Sama" meaning lyrical mantra. The union of Rik mantras and Swara alone is Sama. Hence the text of the Sama Veda is a reduced version of the [[Rigveda (ऋग्वेदः)|Rigveda]]. It is mandatory for Sama to be lyrical and its secret is in its musical annotation and rendering.
Samaveda (Samskrit:सामवेदः) is the third of the [[The Four Vedas (चतुर्वेदाः)|Four Vedas]], and is the third of Vedatrayi. Samaveda is made up of mantras called as "Saman" or "Sama" meaning lyrical mantra. The union of Rik mantras and Swara alone is Sama. Hence the text of the Sama Veda is a reduced version of the [[Rigveda (ऋग्वेदः)|Rigveda]]. It is mandatory for Sama to be lyrical and its secret is in its musical annotation and rendering.
== Introduction ==
== परिचयः ॥ Introduction ==
The Samaveda is shortest of all the four Vedas. It is closely connected with the Rigveda. It is important to note that the Samhita of the Samaveda includes many mantras, a large number indeed, from the Samhita of Rigveda. These mantras are chiefly derived from the eighth and the ninth Mandalas of the Rigveda. The Samaveda is compiled exclusively for ritual application, for Samans are all meant to be chanted during the ceremonies of the Soma-yajna. In the ritualistic tradition, these mantras are recited at those yajnas in which Soma plant is pressed and juice is extracted which with other ingredients is offered to various deities. The Samaveda is, therefore, specially intended for the Udgatr priest, who chants Samans at the yajnika ritual. Its mantras assume their proper character of musical samans or chants only in the various song-books called Ganas. According to Jaimini - Melody is called Saman.
The Samaveda is shortest of all the four Vedas. It is closely connected with the Rigveda. It is important to note that the Samhita of the Samaveda includes many mantras, a large number indeed, from the Samhita of Rigveda. These mantras are chiefly derived from the eighth and the ninth Mandalas of the Rigveda. The Samaveda is compiled exclusively for ritual application, for Samans are all meant to be chanted during the ceremonies of the Soma-yajna. In the ritualistic tradition, these mantras are recited at those yajnas in which Soma plant is pressed and juice is extracted which with other ingredients is offered to various deities. The Samaveda is, therefore, specially intended for the Udgatr priest, who chants Samans at the yajnika ritual. Its mantras assume their proper character of musical samans or chants only in the various song-books called Ganas. According to Jaimini - Melody is called Saman.
Traditionally the Vedas are spoken of as '''Veda Trayi''<nowiki/>' as they are composed of three kinds of mantras - Rk mantras set to metres, Yajus mantras in prose form, and Saman mantras set to musical chants.<ref>https://vedicheritage.gov.in/samhitas/samaveda-samhitas/</ref>
Traditionally the Vedas are spoken of as '''Veda Trayi''<nowiki/>' as they are composed of three kinds of mantras - Rk mantras set to metres, Yajus mantras in prose form, and Saman mantras set to musical chants.<ref>https://vedicheritage.gov.in/samhitas/samaveda-samhitas/</ref>
==== Samaveda Dhyan Shlok ====
==== Samaveda Dhyan Shloka ====
नीलोत्पलदलाभासः सामवेदो हायाननः । अक्षमालान्वितो दक्षे वामे कम्बु धारः स्मृतः॥ <ref>Shukla Yajurveda Madhyandhineya Samhita. Varanasi: Choukhambha Orientalia </ref>
नीलोत्पलदलाभासः सामवेदो हायाननः । अक्षमालान्वितो दक्षे वामे कम्बु धारः स्मृतः॥ <ref>Shukla Yajurveda Madhyandhineya Samhita. Varanasi: Choukhambha Orientalia </ref>
== Meaning of Saman ==
He (Samaveda deity) bears a shade of blue lotus petal and has a face of a horse. In the right is a garland of beads and the left hand bears an axe.
== व्युत्पत्तिः ॥Etymology of Saman ==
Saman or Sama means lyrical mantra as mentioned in the previous section. When the mantras (Rik or Richa) of Rigveda are sung in a specific musical system, then they are called Samaan (Saam). Therefore, in Purvamimamsa, गीति (geeti) or गान (song) has been called Sama - 'गीतिषु सामाख्या' (Purv. Mima. 2.1.36). In Rigveda, Stotrarupa or Geetirupa mantra has been called 'आंगूष्यं साम' (Rig 1.62.2). Angushya means a form of stotra or geeti rendering. It is known that when Mantra or Richas are presented in the form of Geeti then it is called the Saman.
Saman or Sama means lyrical mantra as mentioned in the previous section. When the mantras (Rik or Richa) of Rigveda are sung in a specific musical system, then they are called Samaan (Saam). Therefore, in Purvamimamsa, गीति (geeti) or गान (song) has been called Sama - 'गीतिषु सामाख्या' (Purv. Mima. 2.1.36). In Rigveda, Stotrarupa or Geetirupa mantra has been called 'आंगूष्यं साम' (Rig 1.62.2). Angushya means a form of stotra or geeti rendering. It is known that when Mantra or Richas are presented in the form of Geeti then it is called the Saman.
=== (1) पूर्वार्चिक ॥ Purvarchika ===
=== (1) पूर्वार्चिक ॥ Purvarchika ===
It has four sections: (a) आग्नेय । Agneya, (b) ऐन्द्र । Aindra, (c) पवमान । Pavamana. (d) महानाम्नी आर्चिक ।Mahanamni Archik, Aaranyakanda and Parishista (appendix). There are 6 Adhyayas in Purvarchika. Adhyayas are divided into Kanda and named as 'Dashati'. Dashati means ten Richas, but there appears no restriction on the number of ten in each Dashati, at some places they are less and at other places they are more. Adhyaya 1 is Agneya Kand. Adhyayas 2 to 4 constitute Aindra Kand. Adhyaya 5 is the Pavamana kand. Adyaya 6 is Aranyakaand. Its appendix is Mahanamni Archik (10 mantras).
It has four sections: (a) आग्नेय । Agneya, (b) ऐन्द्र । Aindra, (c) पवमान । Pavamana. (d) आरण्य । Aranya and महानाम्नी आर्चिक ।Mahanamni Archik as Parishista (appendix). There are 6 Adhyayas/Prapathakas in Purvarchika. Adhyayas are divided into Kanda and named as 'Dashati'. Dashati means ten Richas, but there appears no restriction on the number of ten in each Dashati, at some places they are less and at other places they are more. Adhyaya 1 is Agneya Kand having mantras related to Agni devata. Adhyayas 2 to 4 constitute Aindra Kand having mantras related to Indra. Adhyaya 5 is the Pavamana khand containing mantras related to Pavamana or Soma. Adhyaya 6 is Aranya kand . Its appendix is Mahanamni Archik (10 mantras).
The details of Purvarchika in terms of subject and mantra number etc. are as follows:
The details of Purvarchika in terms of subject and mantra number etc. are as follows:
=== (2) उत्तरार्चिक॥ Uttararchika ===
=== (2) उत्तरार्चिक॥ Uttararchika ===
It has 21 Adhyayas (or 9 prapathakas) and the number of mantras is 1225. There are a total of 400 Suktas in Uttararchika.
It has 21 Adhyayas (or 9 prapathakas) and the number of mantras is 1225. There are a total of 400 Suktas in Uttararchika. The basis of singing the mantras of Uttararchika is the mantras of Purvarchika. Therefore, the mantras of Purvarchika are called 'Samayonimantra' or 'Samayoni'.
=== Number of Mantras ===
=== Number of Mantras ===
Total number of mantras in Purvarchika (640) and Uttararchika (1225) put together are 1875. Of these 1771 mantras are from Rigveda, thus Samaveda is said to have only 104 mantras that are unique to it. Most of the mantras in the Samaveda taken from the Rigveda are from mandalas 8 and 9. Apart from them, 237 mantras are taken from the first mandala and 110 mantras from the tenth mandala.<ref name=":0" />
Total number of mantras in Purvarchika (640) and Uttararchika (1225) put together are 1875. Of these 1771 mantras are from Rigveda, thus Samaveda is said to have only 104 mantras that are unique to it. Most of the mantras in the Samaveda taken from the Rigveda are from mandalas 8 and 9. Apart from them, 237 mantras are taken from the first mandala and 110 mantras from the tenth mandala.<ref name=":0" />
=== Rtvik (Priest) of Samaveda ===
The [[Rtvik (ऋत्विक्)|rtvik]] of Samaveda is called उद्गाता Udgaata. He has three assistants: the प्रस्तोता (Prastota), प्रतिहर्ता (Pratiharta) and सुब्रह्मण्य (Subramanya). The group of these four priests was called 'Udgatrimandal' or 'Udgatrivarga'.
Their function is to chant the Sama in auspicious rituals such as [[Yajna (यज्ञः)|yajnas]]. The Samaveda is also called 'Udgaatriveda' because it is associated with a priest named Udgaata.
=== Types of Samagana ===
The texts of [[Sama Gana (सामगानम्)|Samagana]] have been composed on the basis of Purvarchika mantras. Gana is of four types.
# ग्रामगान (Gramagaana)
# आरण्यगान (Aranyagaana)
# ऊहगान (Uhagaana)
# ऊह्यगान (Uhyagaana) (Mystery song).
Among these, Grama and Aranyagaana are Prakritik gaana, and Uha and Uhya are called vikritik gaana.
# '''ग्रामगान ।''' '''Gramagana''' – It is based on the mantras of Agneya, Aindra and Pavman Kand of Purvarchik. It was sung in villages or public places. Hence it is also called 'Gramageyagan', 'Prakritigaan' and 'Veyagan'.
# '''आरण्यगान ।''' '''Aranyagana''' - It is based on the mantras of Purvarchik's Aranya kand. It was sung only in forests or holy places. Hence it is also called 'Aranyakageyagan', 'Rahasyagan'.
# '''ऊहगान ।''' '''Uhaagana''' - 'Uha' means a setting based on the situation. Whenever Sama-Mantras are sung on any special occasion by changing it according to the occasion, it is called Uhaagan. It is dependent on the mantras of Agneya etc. Kandas of Purvarchika. Uhgaan is considered a vikriti. The nature or basis of Uha is the Gramagaana. That is, Uhagaan is created by taking the help of swararaga etc. used in Gramagaana. It was used only during Somayaga and special dharmic occasions.
# '''ऊह्यगान ।''' '''Uhyagaana''' - Like uhagaana, uhyagaana is also considered a vikriti song because it is not original. The nature or basis of Uhya is Aranyagaana. That is, Uhyagana has been composed on the basis of Swararagadi of Aranyagana. Due to being mysterious like Aranyagana, it is also called 'Rahasyagan'. Therefore, singing it in front of the general public is considered prohibited.
=== SaamaVikara (Alteration in Saamagana) ===
In order to give the mantras of Purvarchika of Samveda the form of a song, some letters are added or reduced in them. This verbal change to suit the song in the Richa is called 'Samvikar'. These are of 6 types:<ref name=":1" />
# विकार । Disorder
# विश्लेषण । Analysis
# विकर्षण । Extrapolation
# अभ्यास । Practice
# विराम । Break
# स्तोभ । Stobha
'''विकार । Vikara''' - Pronouncing an altered word in place of the words in the mantra by making some changes from the point of view of singing is called 'Vikara'. Like pronouncing 'ओग्नये' instead of 'अग्ने'.
'''विश्लेषण । Vishleshana''' - Dividing a mantra pada (parts of mantra) into two or more parts as per situational requirement is called 'Vishleshana'. Like pronouncing 'वो यि तोय 2 यि' instead of 'वीतये'.
'''विकर्षण । Vikarshana''' - Pronunciation of long svara (2 = long) in place of Hrasva svara (1 = Hrasva) used in the mantra and pronouncing Pluta svara (3 = Plut) in place of Deergha svara is called 'Vikarshana'. For example, pronouncing 'ये' as 'य 2 3 यि' i.e. reciting the long (dirgha) and longer (plutha) svaras by stretching till the point.
'''अभ्यासः । Abhyas''' - Reciting any word in the mantra two or more times is called 'abhyasa'. Like – 'तो या 2 यि', 'तो या 2 yi' twice.
'''विराम । Viraama''' - For the convenience of singing, pausing for a few moments in the middle of any pada of the mantra is called 'Viraama'. For example, pronouncing 'Grinano Havyadataye' as 'Grinano Ha Vyadataye'. That is, while pronouncing, there is a slight pause on the letter 'H' in the middle of the mantra.
'''स्तोभ । Stobha''' - To give Richa the form of a song, some additional song-appropriate words like 'औहोवा', 'हाउ' etc. are included with the mantra. These are called 'Stobha'. Stobha is the main kind of Samavikara. These are considered to be the decoration of the Samagana. These are chanted during the aalap (a prelude to the actual mantra) of the mantra, which increases the beauty of the mantra. There is a difference in the positions of Stobha as per the Veda shaka. For example, the Kauthumiya branch adds 'हाउ', 'राइ' etc. and the Ranayaniya branch add 'हावु', 'रायि' etc.<ref name=":1" />
=== Divisions of Sama ===
Generally, Samagana has five parts.<ref name=":1" />
# प्रस्ताव । Prasthava
# उद्गीथ । Udgitha
# प्रतीहार । Pratihar
# उपद्रव । Upadrava
# निधन । Nidhana
These are sung by Ritviks named Prastota, Udgaata and Pratiharta together. These three have different duties at the time of singing.
'''Prastava''' – This is the initial part of the mantra which starts with 'हुँ'. Its song is sung by a Prastota. Like- 'हुँ ओग्नाइ'.
'''Udgitha''' - Udgitha means ॐ. In Udgitha, 'ॐ' is placed before the mantra. Its song is sung by the main Ritvik, Udgaata of Sama. For example, 'ॐ आयाहि वीतये गृणानो हव्यदातये'.
'''Pratihara''' - Pratihara means connecting two parts. Example - 'नि होता सत्सि बर्हिषि ॐ'. Sometimes the Pratihara part is divided further into two parts. These are- 1. Upadrava and 2. Nidhana.
* '''Upadrava''' - The first part in the above example - 'नि होता सत्सि ब'. Udgata sings this part.
* '''Nidhana''' - The remaining part is called 'Nidhaan' like 'र्हिषि ॐ'. It is sung by the Prastota, Udgaata and Pratiharta together. By adding Hinkar and Omkar to these, there are 7 types of Samgaan.
== Samaveda as an Independent Veda ==
== Samaveda as an Independent Veda ==
== Shakas of Samaveda ==
== Shakas of Samaveda ==
It is said that many branches of Samaveda existed in ancient times. Maharishi Patanjali has mentioned 1000 branches of Samaveda <nowiki>''</nowiki>सहस्रवर्त्मा सामवेदः । Sahasravarma Samavedah "(Mahabhashya Paspashahnika).<ref name=":0" />
It is said that many branches of Samaveda existed in ancient times. Maharishi Patanjali has mentioned 1000 branches of Samaveda <nowiki>''</nowiki>सहस्रवर्त्मा सामवेदः । Sahasravartma Samavedah "(Mahabhashya Paspashahnika).<ref name=":0" /><ref name=":2">https://sanskritdocuments.org/sites/prkannan/Sama%20Veda-%20An%20Introduction.pdf Book by Sri P.R. Kannan found at https://sanskritdocuments.org/sites/prkannan/</ref>
At present only three branches of Samaveda are available
At present only three branches of Samaveda are available
== Contents of Samaveda Samhita ==
== Contents of Samaveda Samhita ==
Being a music-oriented Veda, considerable literature was written on the singing of the mantras of Samveda. This theme is also the root of Indian musicology. Some essential elements related to Samagana have been instructed in Naradiya Shiksha. Due to which the importance of its theory and practical aspects can be easily understood. According to Naradiya Shiksha, the swaramandal of Samagaan i.e. the spectrum of notes consists of<ref name=":1"><nowiki>https://egyankosh.ac.in/bitstream/123456789/103107/1/Unit-2.pdf</nowiki> </ref> <blockquote>सप्त स्वराः, त्रयो ग्रामाः, मूर्छनास्त्वेकविंशतिः।
Being a music-oriented Veda, considerable literature was written on the singing of the mantras of Samveda. This theme is also the root of Indian musicology. Music is of two kinds
- vaidika
- loukika
Vaidika Gana (Sama) is called Maargi and Loukika Gana is referred to as Desi. Sangita Ratnakara author Sri Saarangadeva mentions that Vaidika Gana is the basis of Loukika Gana. Both of them have seven svaras.<ref name=":2" />
Some essential elements related to Samagana have been instructed in Naradiya Shiksha. Due to which the importance of its theory and practical aspects can be easily understood. According to Naradiya Shiksha, the swaramandal of Samagaan i.e. the spectrum of notes consists of<ref name=":1"><nowiki>https://egyankosh.ac.in/bitstream/123456789/103107/1/Unit-2.pdf</nowiki> </ref> <blockquote>सप्त स्वराः, त्रयो ग्रामाः, मूर्छनास्त्वेकविंशतिः।
ताना एकोनपंचाशत् , इत्येतत् स्वरमण्डलम् ।। नारदीय शिक्षा</blockquote>- 7 स्वर (Swaras or notes)
ताना एकोनपंचाशत् , इत्येतत् स्वरमण्डलम् ।। नारदीय शिक्षा</blockquote>- 7 स्वर (Swaras or notes)
=== स्वरम् । Swara ===
=== स्वरम् । Swara ===
There are seven swaras in Samveda.
There are seven swaras in Samveda. According to Naradiya Shiksha, Paniniya Shiksha and Yajnavalkya Shiksha, these cosmic notes have developed from the three basic Svaras - Udatta, Anudatta and Swarita. <blockquote>उदात्ते निषादगान्धारौ अनुदात्ते ऋषभधैवतौ । स्वरितप्रभाव ह्येते षड्जमध्यमपञ्चमाः ॥ </blockquote>
{| class="wikitable"
!No.
!Swaras (Notes)
!Vedic Svara Origin
|-
|1
|षड्ज (स) । Shadja (Sa)
|Svarita (3)
|-
|2
|ऋषभ (रे)। Rishabha (Re)
|Anudatta (2)
|-
|3
|गान्धार (ग)। Gandhara (Ga)
|Udatta (1)
|-
|4
|मध्यम (म)। Madhyama (Ma)
|Svarita (3)
|-
|5
|पंचम (प)। Panchama (Pa)
|Svarita (3)
|-
|6
|धैवत (ध)। Dhaivata (Dha)
|Anudatta (2)
|-
|7
|निषाद (नि)। Nishad (Ni)
|Udatta (1)
|}
To represent these notes, numbers 1,2,3 are given on the Samavedic mantras. Their meaning is 1 = उदात्त - Sublime, 2 स्वरित - Swarit 3 अनुदात्त - Anudatta. Similarly, numbers like 1, 2, 3 etc. respectively represent the seven notes like Madhyam, Gandhar, Rishabh etc. (in the order of Ma Ga Re..).
The fundamental difference between the seven notes of Samagana and the seven notes of secular classical music is that the notes of Sama are in the 'अवरोहारोह'- Avaroharoh' descending-ascending order (Ma, Ga, Ri, Sa, Da, Ni, Pa) and the notes of the secular song are in the 'आरोहावरोह '- Aarohavaroh' order or ascending-descending order (Sa, Ri, Ga, Ma, Pa, Da, Ni).<ref name=":1" /><ref name=":2" />
The fundamental difference between the seven notes of Samagana and the seven notes of secular classical music is that the notes of Sama are in the 'अवरोहारोह'- Avaroharoh' descending-ascending order and the notes of the secular song are in the 'आरोहावरोह '- Aarohavaroh' order or ascending-descending order.<ref name=":1" />
=== ग्राम । Grama ===
=== ग्राम । Grama ===
# तीव्र (उच्च) - high
# तीव्र (उच्च) - high
== Rtvik (Priest) of Samaveda ==
=== मूर्छना। Murchhna ===
The [[Rtvik (ऋत्विक्)|rtvik]] of Samaveda is called Udgaata. He has three assistants: the presenter, the counterpart and the subramanya. The group of these four priests was called 'Udgatrimandal' or 'Udgatrivarga'.
The sound emanating from one note of each of the svaras is called Murchanas. They are formed by the mutual combination of Svaras and Grama (7 times 3) and are 21 in number.
=== तान । Taana ===
The combination of seven notes (7 times 7) is called Taana. By generating a combination with each other the number of threads becomes 49.
==References==
==References==
<references />
<references />
[[Category:Vedas]]
[[Category:Vedas]]