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The 狈腻谤补诲墨 艢颈办峁Ｄ� is one of the oldest and the most profound 艢颈办峁Ｄ� of the 厂腻尘补惫别诲补. It states its object to be the treatment of accent in the 厂腻尘补惫别诲补^[1]. We know that there are three main accents in the Vedas鈥斺赌�耻诲腻迟迟补鈥�, 鈥�an耻诲腻迟迟补鈥� and 鈥�svarita鈥�. But these verities of accent, which developed into the seven musical notes of chanting of the 厂腻尘补惫别诲补^[2], have traditionally come down to the present day known as 鈥�s膩鈥�, 鈥渞e鈥�, 鈥済膩鈥�, 鈥渕膩鈥�, 鈥減膩鈥�, 鈥渄h膩鈥�, 鈥渘i鈥�. The first note 鈥�峁�a岣峚箩补鈥� and second note 鈥�峁涐梗补产丑补岣�鈥� are said to arise from the low accent (an耻诲腻迟迟补), the third 鈥�驳腻苍诲丑腻谤补鈥� and the fourth 鈥�madhyama鈥� from the high accent (耻诲腻迟迟补); and the fifth, the sixth and the seventh 鈥�辫补帽肠补尘补鈥�, 鈥�dhaivata鈥� and 鈥�苍颈峁Ｄ乨补鈥� from the 鈥�svarita鈥�. Among of the three notes, the seventh 鈥�苍颈峁Ｄ乨补鈥� is said to arise from the independent, the 鈥�abhinihita鈥� and the 鈥�办峁�a颈辫谤补鈥� varieties of the 鈥�svarita鈥�. The sixth note 鈥�dhaivata鈥� processed from the 鈥�迟补颈谤补惫测补帽箩补苍补鈥�.

峁�a岣峚箩补鈥�

峁�a岣峚ja is one of the most important sound among the six sounds. This sound is created from the six vocal organs of our body like nose, throat, chest, palate, tongue and teeth鈥�

啶ㄠぞ啶膏ぞ啶� 啶曕ぃ啷嵿�犩ぎ啷佮ぐ啶膏�嵿い啶距げ啷佮�溹た啶灌�嵿さ啶距�� 啶︵え啷嵿い啶距ざ啷嵿�� 啶膏�傕ざ啷嵿ぐ啶苦い啶冟��
啶粪ぁ啶溹�� 啶膏�炧�嵿�溹ぞ啶�啶む�� 啶�啶膏�嵿ぎ啶距い啷嵿い啶膏�嵿ぎ啶距い啷� 啶粪ぁ啷嵿�� 啶囙い啶� 啶膏�嵿ぎ啷冟い啶冟��

n膩s膩峁� ka峁囜弓hamurast膩lujihv膩峁� dant膩艣ca sa峁兣況ita岣�|
峁�a岣峚箩补岣� sa帽j膩yate yasm膩ttasm膩t 峁�a岣峧补 iti sm峁泃a岣�||

(狈腻谤补诲墨 艢颈办峁Ｄ�, 1/5/7)

It is also said that the 峁�a岣峚箩补 is farther of six sounds鈥�

啶粪ぃ啷嵿ぃ啶距�� 啶膏�嵿さ啶班ぞ啶｀ぞ啶� 啶溹え啶曕�� 啶粪ぁ啷嵿き啶苦ぐ啷嵿さ啶距�溹え啷嵿く啶む�� 啶膏�嵿さ啶班�堗�冟��
啶粪ぁ啷嵿き啷嵿く啷� 啶掂ぞ 啶溹ぞ啶�啶む�囙そ啶權�嵿�椸�囙き啷嵿く啶� 啶粪ぁ啷嵿�� 啶囙い啷嵿く啶�啶苦ぇ啷�啶�啶む�囙ゥ

峁�a峁囜箛膩峁� svar膩峁嚹佱箖 janaka岣� 峁�a岣峛hirv膩janyate svarai岣�|
峁�a岣峛hyo v膩 j膩yate'峁単ebhya岣� 峁�a岣峧补 ityabhidh墨yate||

(惭补迟补峁単腻肠腻谤测补)

峁氠梗补产丑补鈥�

The process of the pronunciation of the 峁涐梗补产丑补 sound is also mentioned in the 狈腻谤补诲墨 艢颈办峁Ｄ�.At first the internal air rises from navel region, receives expansion in the throat, then it strikes the head and comes back and finally gives rise to different kinds of sounds. 

峁氠梗abha is a high note sound according to the 狈腻谤补诲墨 艢颈办峁Ｄ佲��

啶掂ぞ啶�啷佮�� 啶膏ぎ啷佮い啷嵿ぅ啶苦い啷� 啶ㄠぞ啶�啷囙�� 啶曕ぃ啷嵿�犩ざ啷�啶班�嵿し啶膏ぎ啶距す啶む�冟イ
啶ㄠぐ啷嵿う啶む�嵿く啷冟し啶�啶掂う啷嵿く啶膏�嵿ぎ啶距い啷嵿い啶膏�嵿ぎ啶距う啷冟し啶� 啶夃�氞�嵿く啶む�囙��

v膩yu岣� samutthito n膩bhe岣� ka峁囜弓ha艣墨r峁�asam膩hata岣�|
nardaty峁涐梗补产丑补vadyasm膩ttasm膩d峁涐梗补产丑补 ucyate||

(狈腻谤补诲墨 艢颈办峁Ｄ�, 1/5/8)

Language and music are closely connected with each other and for that reason both the 狈腻谤补诲墨 艢颈办峁Ｄ� and the 厂补峁僩墨迟补谤补迟苍腻办补谤补 find out a close connection between music and human speech. 

In that connection we can observe that the meaning of 鈥�峁涐梗补产丑补鈥� is clearly explained by the author of 厂补峁僩墨迟补谤补迟苍腻办补谤补鈥�

啶�啷嵿ぐ啶距ぃ啷嵿え啷嬥い啶� 啶灌�冟う啶�啶� 啶多��啶о�嵿ぐ啶�啶ㄠ�嵿く啶膏�嵿ぎ啶距う啷冟し啶�啶� 啶膏�嵿ぎ啷冟い啶冟��
啶膏�嵿い啷嵿ぐ啷�啶椸さ啷�啶粪�� 啶�啶ム�� 啶むた啶粪�嵿�犩え啷嵿さ啶苦き啶距い啶� 啶嬥し啶�啷� 啶�啶灌ぞ啶ㄠ�嵿ゥ

pr膩峁噉oti h峁沝aya峁� 艣墨dhramanyasm膩d峁涐梗补产丑补岣� sm峁泃a岣�|
str墨gav墨峁�u 测补迟丑腻 ti峁ａ弓hanvibh膩ti 峁涐梗abho mah膩n||

骋腻苍诲丑腻谤补鈥�

The third note is 驳腻苍诲丑腻谤补. The 峁涐梗补产丑补 and the 驳腻苍诲丑腻谤补岣� are pronounced in the same way. 

It is also raise from the navel region, receives expansion in the throat, than it strikes the head and come back, and finally gives rise to different kinds of musical sounds鈥�

啶掂ぞ啶�啷佮�� 啶膏ぎ啷佮い啷嵿ぅ啶苦い啷� 啶ㄠぞ啶�啷囙�� 啶曕ぃ啷嵿�犩ざ啷�啶班�嵿し啶膏ぎ啶距す啶む�冟イ
啶ㄠぞ啶ㄠぞ啶椸え啷嵿ぇ啶掂す啶� 啶�啷佮ぃ啷嵿く啷� 啶椸ぞ啶ㄠ�嵿ぇ啶距ぐ啶膏�嵿い啷囙え 啶灌�囙い啷佮え啶距��

v膩yu岣� samutthito n膩bhe岣� ka峁囜弓ha艣墨r峁�asam膩hata岣�|
n膩n膩gandhavaha岣� pu峁噛o 驳腻苍诲丑腻谤补stena hetun膩||

(狈腻谤补诲墨 艢颈办峁Ｄ�, 1/5/9)

Through the process of the creation 峁涐梗补产丑补 and 驳腻苍诲丑腻谤补 are same but of both on the basis of musical point of view they are different from each other. 

For that reason the author of 厂补峁僩墨迟补谤补迟苍腻办补谤补 mentioned that鈥�

啶椸ぞ啶ㄠぞ啶む�嵿ぎ啶苦�曕ぞ啶� 啶�啶ㄠ�嵿く啷� 啶囙い啶� 啶椸ぞ啶ㄠ�嵿ぇ啶距ぐ啶膏�傕�溹�嵿�炧�曕��

g膩n膩tmik膩峁� manye iti 驳腻苍诲丑腻谤补sa峁僯帽aka岣�

惭补诲丑测补尘补鈥�

The madhyama is the fourth note among of the seven musical notes. It is a high note musical sound because this note is arising from the high accent (耻诲腻迟迟补). 

It is produced on the same way as the first three notes but when it comes back to the navel region it makes a high note sound鈥�

啶掂ぞ啶�啷佮�� 啶膏ぎ啷佮い啷嵿ぅ啶苦い啷� 啶ㄠぞ啶�啷囙�� 啶曕ぃ啷嵿�犩ざ啷�啶班�嵿し啶膏ぎ啶距す啶む�冟イ
啶ㄠぞ啶�啶苦ぎ啷嵿お啷嵿ぐ啶距お啷嵿い啷� 啶�啶灌ぞ啶ㄠぞ啶︵�� 啶�啶о�嵿く啶�啶む�嵿さ啶� 啶膏ぎ啶多�嵿え啷佮い啷囙��

v膩yu岣� samutthito n膩bhe岣� ka峁囜弓ha艣墨r峁�asam膩hata岣�|
n膩bhimpr膩pto mah膩n膩da峁� madhyamatva峁� sama艣nute||

(狈腻谤补诲墨 艢颈办峁Ｄ�, 1/5/10)

笔补帽肠补尘补鈥�

The 辫补帽肠补尘补 is another important sound among of the seven musical notes. The process of articulation of this sound is also mentioned in the 狈腻谤补诲墨 艢颈办峁Ｄ�.

啶掂ぞ啶�啷佮�� 啶膏ぎ啷佮い啷嵿ぅ啶苦い啷� 啶ㄠぞ啶�啷囙�� 啶灌�冟い啷嵿�曕ぃ啷嵿�犩�嬥ぐ啶� 啶多た啶班�嬥す啶む�冟イ
啶�啶炧�嵿�氞じ啷嵿ぅ啶距え啶膏�嵿ぅ啶苦い啶膏�嵿く啶距じ啷嵿�� 啶�啶炧�嵿�氞ぎ啶む�嵿さ啶� 啶掂た啶о��啶�啶む�囙ゥ

v膩yu岣� samutthito n膩bhe岣� h峁泃ka峁囜弓hora岣� 艣irohata岣�|
pa帽casth膩nasthitasy膩sya 辫补帽肠补尘补tva峁� vidh墨yate|| 

(狈腻谤补诲墨 艢颈办峁Ｄ�,1/5/10)

According to the above text this sound is created by the help of the five place of articulation like navel, throat, heart, head and mouth. At first the internal air rises from navel region, receives expansion in the throat, undergoes change in the heart, then it strikes the head and come back and finally gives rise to different kinds of sounds in the mouth. 

According to 厂补峁僩墨迟补谤补迟苍腻办补谤补 the expansion of vowels are created by the 辫补帽肠补尘补鈥�

啶膏�嵿さ啶班ぞ啶ㄠ�嵿い啶班ぞ啶｀ぞ啶� 啶掂た啶膏�嵿い啶距ぐ啶� 啶�啷� 啶�啶苦ぎ啷�啶む�� 啶� 啶�啶炧�嵿�氞ぎ啶冟��
啶�啶距�犩�曕�嵿ぐ啶�啷囙�� 啶椸ぃ啶ㄠ�� 啶膏�傕�栢�嵿く啶距く啶� 啶�啶炧�嵿�氞ぎ啷嬥そ啶ムさ啶距��

svar膩ntar膩峁嚹佱箖 vist膩ra峁� yo mim墨te sa 辫补帽肠补尘补岣�|
p膩峁環akrame峁嘺 ga峁嘺ne sa峁僰hy膩y膩 pa帽camo'thav膩|| 

(厂补峁僩墨迟补谤补迟苍腻办补谤补)

顿丑补颈惫补迟补鈥�

Dhaivata is another important sound of 厂腻尘补惫别诲补. Dhaivata is the main factor by which first five sound are assimilated鈥�

啶呧い啶苦じ啶ㄠ�嵿ぇ啷�啶�啶む�� 啶�啶膏�嵿ぎ啶距う啷囙い啶距え啷嵿お啷傕ぐ啷嵿さ啷嬥い啷嵿ぅ啶苦い啶距え啷嵿じ啷嵿さ啶班ぞ啶ㄠ�嵿��
啶むじ啷嵿ぎ啶距う啶膏�嵿�� 啶膏�嵿さ啶班じ啷嵿く啶距お啶� 啶о�堗さ啶むい啷嵿さ啶� 啶掂た啶о��啶�啶む�囙ゥ

atisandh墨yate yasm膩det膩np奴rvotthit膩nsvar膩n|
tasm膩dasya svarasy膩pi dhaivatatva峁� vidh墨yate||

(狈腻谤补诲墨 艢颈办峁Ｄ�, 1/5/18)

This musical note is arising from svarita accent.

Dhaivata is also defined by the author of 厂补峁僩墨迟补谤补迟苍腻办补谤补鈥�

啶о��啶班じ啷嵿く啶距じ啷嵿い啷�啶むた 啶о��啶掂ぞ啶傕じ啷嵿い啶む�嵿じ啶�啷嵿さ啶ㄠ�嵿ぇ啷� 啶о�堗さ啶むぎ啷� 啶膏�嵿ぎ啷冟い啶冟��
啶�啶︵�嵿さ啶� 啶粪し啷嵿�犩じ啷嵿ぅ啶距え啷� 啶о�冟い啷� 啶�啶膏�嵿ぎ啶距い啷嵿い啶む�嬥そ啶膏�� 啶о�堗さ啶むぎ啷� 啶膏�嵿ぎ啷冟い啶冟��

dh墨rasy膩st墨ti dh墨v膩峁僺tatsamvandh墨 dhaivatam sm峁泃a岣�|
yadv膩 峁�a峁ａ弓hasth膩ne dh峁泃o yasm膩ttato'sau dhaivatam sm峁泃a岣�||

狈颈峁Ｄ乨补鈥�

狈颈峁Ｄ乨补 is another important and last one of 厂腻尘补惫别诲补. This sound is created by the help of every articulator organs, like navel, throat, heart, forehead and mouth^[3]. According to the discussion about the accent of 狈腻谤补诲墨 艢颈办峁Ｄ�, it has been shown that the idea of an inner connection between accent and musical notes may have possibly occurred to our Indian Grammarians. It is also indicated by the above discussion that when it is said that one musical note arises from an accent, it means a symbolic representation of accent in terms of musical notation. For example, when madhyama is said to arise from 耻诲腻迟迟补, is does not means that madhyama = 耻诲腻迟迟补. It rather suggests either a inner connection between madhyama and 耻诲腻迟迟补 or a symbolic representation of 耻诲腻迟迟补 in terms of madhyama. And this representation is not 鈥渁rtificial systematization鈥�. It has been done with a touch of living reality. Indian Grammarians had observed a living musical phenomenon in Vedic accent and they tried to describe the phenomenon of accent in term of parallel facts which they had observed in music proper.

Footnotes and references:

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[1]:

s膩mavede tu vak峁�y膩mi svar膩峁嚹佱箖 肠补谤颈迟补峁� 测补迟丑腻|
alpagrantha峁� prabh奴t膩rtha峁� 艣ravya峁� ved膩峁単amuttamam|| (艢颈办峁Ｄ乻a峁僩raha, p.398)

[2]:

ud膩tte 苍颈峁Ｄ乨补g膩ndh膩r膩vanud膩tte 峁涐梗补产丑补dhaivato svaritaprabhav膩 d峁浥泍ate 峁�a岣峧补madhyamapa帽cam膩岣�.

[3]:

鈥�苍颈峁Ｄ乨补峁� sarvasandhijam鈥� (狈腻谤补诲墨 艢颈办峁Ｄ�, 1/5/6)