Vedic Sangeet

The Vedas are a voluminous text on all aspects of material and spiritual life and serve as the guiding light to Indian ethos. The term Ved means knowledge which have been handed down over millennia though oral transmission in the traditional Guru-Shishya Parampara. 

The Vedas are said to be self-authoritative (Apaurusheya) whose antiquity is unknown. The vedas deal with various branches of knowledge such as science, medicine, politics, alchemy, biology, agriculture, music, arts, etc. Today the term Veda refers to the collection of four main Vedas

1. Rig Veda

2. Yajur Veda

3. Sama Veda

4. Atharva Veda

Under each of the Vedas were four different classes of texts such as 

1. Samhitas

2. Brahmanas

3. Aranyakas

4. Upanishads

The term Samhita refers to a collection of Veda Mantras which are four – Rig, Yajur, Sama, Atharva. The word Rig comes from the root Rich which means praising and praying. And a collection of such hymns was called Rig-Samhita. This is the oldest of all. 

The collection of hyms suitable for performing Yagnyas or sacrifices was called Yajur-Samhita. 

The word Saam means song or vowels. The mantras of Rig which were sung in yagnyas was called Saam-Samhita. 

Athavan was created by Brahma to protect living beings. The collection of mantras meant for peace, protection and welfare of all was called Atharva-Samhita.

While singing and aspects of music are more prevalent in Samaveda, the foundation of recitation (which later manifested as singing) is present in Rig veda. There are three types of vowels or Swar used in veda – Udatta, Anudatta, Swarit. While in today’s parlance we refer to Swar as a musical note, there are many meanings. 

1. Swar or vowel as used in grammer which can be pronounced independently from consonants such as a, e, i, o, u and its varieties.

2. Many scholars have defined Swar as Swayam Raajante or that which shines on its own. (Since vowels are independant and have a sound of their own which have the ability to be pronounced continuously)

3. In Vedic Sanskrit, a slight change in the usage of vowel can lead to alteration in the meaning of the text or mantra and its proposed merit. Hence Swar is also defined as that through which the meaning of a word is ascertained.

4. later, times we find the term Yam to refer to musical notes in prathisakhyas and vedic granthas. The term Yam was also used as that by which meaning of mantras were regulated (point 3 above)

5. Today we use the term Swar to denote all pleasant sounds useful for creation of music.

There were seven swar and Yam in the vedic period and the word swar came to be associated with number 7. The seven vowel in Sanskrit grammer are A, E, U ,Ru, Lru, Ye, O. vowels such as A, E, U have long forms also. 

In the vedas, Swar meant the method of pronunciation which were mainly three – Udat, Anudat, Swarit which have total of seven forms. 

1. Udatta

2. Udattatar

3. Anudatt

4. Anudattatar

5. Swarit

6. Udatta present before Swarit (different from 1)

7. Ekashruthi

In musical parlance these swars were named

1. Krusht

2. Pratham

3. Dvitihya

4. Tritiya

5. Chaturta

6. Mandra

7. Atiswar

Much later, the swars assumed the form we know today as Shadaj, Rishab, Gandhar, Madhyam, Pancham, Dhaivat, Nishad.

The above three are special pronunciation methods of vowels. Panini’s Ashtadhyayi throws light on the three. In the world of Vedas vowels have a special place and characteristic. 

1. The vowel which is produced from the upper palate was called Udatt. There is some restraint in the throat and the voice rounds rough and there is contraction in the throat cavity. 

2. The vowel produced from the lower part of the mouth is Anudatta where the throat is more open and voice is soft.

3. The tone in which Udatt and Anudatt is combined is called Swarit. The term Swarit is very important. The first half syllable of Swarit is Udatta. Meaning while pronouncing Swarit, it starts from a high and ends on a low accent or pitch.

This aspect of vowel usage was earlier present in vedic and local language but later the usage seems to have been in disuse in day-to-day usage. Hence it remains only in the vedic recitation.

Many scholars have researched on whether the three terms were accentuation of sound or musical pitches. Western scholars believe the swars were musical also pitches and udatta indicated the higher pitch in relation to swarit and the anudatta indicated lower pitch in relation to the swarit.

Fox Strangways, based on his study of vedic music has written that the rig veda was recited in three tones and the terms udatta etc were indicative of relative pitch. 

The recitation of vedic mantras have a musical quality due to the change in pitch employed for the three vedic Swars. Great emphasis was paid to the correct usage and pronunciation of Udatt, Anudatt and Swarit. Hence to preserve the purity of pronunciation, these vowels were associated with hand movements while memorizing the vedas.

Apart from the three, we also find other swars such as Ekashruthi, Taan Swar, Praavachan. Swarit itself had nine forms whose detailed descriptions are given in the Shiksha Granth.

The ancient greek language had certain types of accents which were based on alterations in pitch. Similar to the Udatt, Anudatt and Swarit, we find the terms Oxyu, Baryu and Oxyu-baria or perispomenon. Hence, classical languages like Greek and Latin had a musical nature while speaking due to changes in pitch.

Vedic notation is one of the oldest form of notation systems which were used to preserve the purity of literary transmission of the vedas. Symbols were used along with the letters in written manuscripts. Hand movements were also done along with recitation and learning to ensure no errors occurred.

Within the vedas we find different types of notation and symbols used. 

1. The symbol used for Anudatt was ‘_’

2. The symbol used for Swarit was ‘ | ’

3. There was no symbol for Udatt and which had no swar preceding it or it is preceded by an Anudatt.

Vowels played a crucial role in pronunciation of mantra and determining its correct meaning. In Sanskrit, a word can have two types of meaning 

1. Grammatical

2. Rhetorical/ Contextual

The Meaning of the word has to be understood from the context of the usage of a particular word. Grammatical meaning is derived from understanding root word and suffix. In compound words, the word can be broken in to parts and the meaning can be derived in context of its usage in the sentence. 

Likewise, the other meaning of word Mantra is Man + Trah, meditation of which brings relief. 

All ancient scholars have laid emphasis on correct pronunciation so that the desired vibrations needed to establish contact with higher beings are attained, which other wise can harm the performer of yagna due change in meaning.

There are many references on music and instruments in the Rig Veda. The seven swars and the four popular types of instruments were well in use during the Rig vedic period.

Tat Vadhya – String instruments

Instruments which used strings irrespective of the material of the string were called Tat. The most famous tat vadhya was Baan or Vaan. It is used similar to the term Veena today. Some scholars have mentioned Vaan as with 100 strings. the term Vaan is that which can make sound. An Arrow was called Vaan as it makes a sound when released from the bow. The term Vaan was used for all string instruments. Vaan was bow shaped like the harp. It had 7 to 100 strings. Strings were made of a type of grass and later metal. A frame was made in udambar or goolar wood and covered with leather. Ten holes were made in it and the strings were inserted in it. Another instrument mentioned is the Karkari. 

Avnadh Vadhya – Drums

The Dundubhi was the most prominent of all drums used in vedic rituals. The word and the sound it makes is said to fill the sky and drive away enemies. The Dundubhi was made of clay, bronze or copper covered with leather. It was played with deers horn or wood. It was played in battle, celebrations, auspicious and victorious occasions. Later on it was used in royal palaces and temples. Today we called it Nagara. There was a type of Dundubhi called the Bhoomi Dundhubi. In the yagna mandap, a pit was dug in the ground and covered with leather and surrounded by a rope and tied to pegs. It was played with the bull tail bone. It was played along with samagaan.

Rig Veda mentions of another instrument Gargar. This was a special leather instrument which made a roaring sound similar to Gar-gar. The echo of the gargar was said to create fear in the enemy. The vibration was such that a leather strap was tied to the hand to withstand the shock. 

Ghan Vadhya – Percussion

A  instrument made of metal or wood which produces sound by striking is called a Ghan Vadhya. An instrument called Aghati was used 

Sushir Vadhya- wind instrument

Instruments with holes which produce sound on blowing air is called sushir vadhya. Rig veda mentions two wind instruments – Bakur and Naali. Bakur was a kind of bagpipe which was pressed to blow air and produce sound. Naali was a flute.

Music in Yajur Veda

We find the first mention of the word Veena in the Yajur Veda. Other instruments also find a mention in the Yajur Veda

1. Audambar was a percussion instrument of the bheri class. It throws a might sound in all directions. 

2. Veena or Vaan was a stringed lute referring to all stringed instruments 

3. Tunav was a wind instrument played by blowing.

4. Shank or conch is still used in various ceremonies, known for its auspiciousness

5. Paanighna was one who claps for rhythm.

6. Talav was a rhythm instrument played with the hand 

All vedic literature consider Sama as the musical veda. Ancient scholars have attributed to Sama as the root of Indian Music. Dr Thakur Jayadev Singh, Pt Motilal Sharma in his book Ved ka Swaroop Vichar has thrown a lot of light on the the musical aspect of Samaveda. 

Sama Veda is considered special and important by the Upanishads. Even Krishna says in Bhagavat Gita that he is the Sama Veda. 

The Sama veda uses parts of Rig veda and is sung. Verses from rig veda are converted into song formats. This is grouped as Sama Samhita. 

Most of the Sama veda borrows mantras from the Rig Veda. Only some portions are independent.  These verses are meant to be sung at the Soma Yagna. The praises of the different deities form the principal subject of these verses, who are supposed to honour the ceremony with their presence and the prayers for the prosperity of the worshippers and connected with them.

The Samaveda Samhita is called Archik, which means its related to the rich of Rig Veda. This has two parts Poorva Archik and Uttara Archik. There is an Aranyaka Samhita. The poorv Archak has 6 prapathaks each having two ardh and each ardh has 10 dashathis. There are 585 verses in Poorva Archik.

The Uttara Archik has 9 Prapathaks. The first five prapathaks have 2-2 Ardh each and rest 4 have 3-3 Ardh each. 

There are total 1225 verses in Uttara Archik. 

A group of three Riks is called Truch which is suitable for Saam Gaan. There are 287 Truch in Uttar Archik. 

Maharishi Patanjali has mentioned “Sahasravartama Samavedah”. Scholars opine that there are 1000s of methods of singing Sama. Different branches were formed due to differences in text and styles of singing. There are three main branches exist today Ranayana, Kauthumiya, Jaiminia. There were 12-13 branches.

Archik is a collection of hymns from Rig veda. Gaan Granth are the texts which have the song form of these verses are making necessary changes in the text and notation. This is called Saam.

The Saam which was composed based on the Poorva Archik are called Graam Gaan, Gramegeya Gaan and Prakruthi Gaan. 

The Saam which was composed based on the Aranyaka Samhita are called Aranyageya Gaan and Aranyegeya Gaan.

The Saam which was composed based on the Uttara Archik are called Uhagaan. 

Gramegeya Gaan were sung in village settlements. 

Aranyegeya Gaan were sung outside the villages or in forests. These were also called Rahasya Gaan or Rahasyageya Gaan. These mantras were sung for establishing diving connections and hence were performed in secluded spaces. They were also called Uharahasya Gaan or Uhya Gaan. 

Uha and Uhya Gaan were meant for Rituals. 

The different branches had different number of Gaan mantras.

Jaiminia Kauthumia

Gramegeya Gaan 1232 1197

Aranyegeya Gaan 291 294

Uha Gaan 1802 1026

Uhya Gaan 356 205

3681 2722

The Saam Samhita is the collection of mantras from Rig Veda. Not all the rig mantras are available in Saam and the notation of swar is denoted by the numbers 1, 2, 3 or Udatt, Swarit and Anudatt. Swarit is pronounced inbetween Udatt and Anudatt and hence aptly it is numbered 2 in Sama Veda. 

The Samhita of Saam have five types of Swar

1. Udatt

2. Anudatt

3. Swarit

4. Prachaya

5. Sanantar

Prachaya and Sanantar are forms of Swarit. The Saam Samhita is also recited like Rig Veda. The Samhita paat is transformed while singing as Saam Gaan.

Scholars had many doubt on the nature of Swar used in Saam and its Grama or scales whether it was ascending or descending, its relation to the musical swars or notes used in folk music. 

The Scale of Samaveda was descending in pitch. Swar of Saman Scale were called Yama denoted by Krushta etc. Scholars have many opinions on why the scale is descending. Popular opinion is that singing was prevalent before instruments were invented. Singing as done in folk or tribal music is always started in higher register so as to be heard in large audience hence lending to notes descending in scale. 

Naradiya Shiksha gives uses the names of the swars as Pratham, Dvithiya, Tritiya and Chaturth and Mandra, Krusht and Ati swar. Based on the nature of names, we can opine that Saam Gaan initially used up to four Swars, as evident from the numerical names. 

When Yagnas were sung in a single swar they were called Archik, suitable for havan, manta, Paat, Japa. When two swars were used it was called Gaathik. Songs of praise were sung in this style. Three swars were used in Sama and hence was called Saamik. The fourth swar was called Swarantar, where Antar meant nearby. Based on the Sama Gaan sung today, up to four notes are sung – Ga Re Sa Ni. Ma, Pa Dha were rarely used. 

Simhabhoopal in his commentary of Sangeet Ratnakara has mentioned that a group of four swars is Swarantar. 

Hence over time, Saam gaan added Swars progressively from 3 to 4 and later added 3 more swars. The principal four swars were named numerically and the rest were descriptive. The word Mandra suggests lower than the four main Yamas. Ati Swar can be interpreted as ‘very’ or ‘extreme’ and here in the sense of final. The Word Krusht comes from the root word Krush which means to sound shrill. It was possible that it was applied as a Gamak or Kan to the Pratham yama and later became and independent Swar. Hence the development of Sama Gram or scale happened in stages and the form of the scale is

1. Krusht, 2. Pratham, 3. Dvithiya, 4. Tritiya, 5. Chaturta, 6. Mandra, 7. Atiswar. 

On the usage of the word Yama for the Sama scale, scholars opine that Yama is also the swars such as Udatt, etc which are used in vedas to ascertain meaning and pronunciation. Secondly, Vedic scholars called musical sound as Yama. Yam root word also meant stable sound. Hence musical note is very aptly named Yam.

Swars of Sama and Folk Music

Ancient scholars have related the swars of Sama veda with that of the regional music prevalent then. The sames of Shadaj Rishab etc were available in the vedic period. The Prathisakhyas use these terms but Sama Yamas were called Krusht etc out of respect to the tradition. The regional traditions did not use the terms Krusht. Hence a relation between them was established. Naradiya Shiksha provided the relation using the swars of the Flute. The first swar of Samgaan was the Madhyam of Flute. The second swar was Gandhar, and third swar was Rishab and fourth swar was Shadaj and so on. 

The Scale was Ma Ga Re Sa Dha Ni Pa. 

Hence Krusht was the Madhyam swar of folk music.

Many opinions are prevalent on the aspects of the scale.

1. Some scholars such as Nayanadev in BharataBhashyam have said Pancham as the first note or Krusht

2. The Samaved scale was not in order as Dha is placed before Ni. Some scholars such as Shri Seshagiri Shastri have propounded that early scale could have resembled the raag Abhogi and Ni and Pa were added Later. 

Todays Saam scholars however follow a direct descending Scale for the Sama Veda Grama.

The Shiksha granthas have not shed light on this subject. Based on the oral tradition of Sama Veda which is still sung today, we can refer that the Scale resembles the Kafi Thaat or Kharaharapriya Mela. It was called the Shuddh Grama. According to Shri Srinivas Iyengar in the Sangraha Choodamani, Scholars Like Bharat and later Sharangdev have regarded the swars of Sama Veda as shuddh Swar. Observation of Sama Gaan tells us that the Swars are sung from Taar Saptak to Madhya Saptak in the order Ga Re Sa Ni Dha Pa and have the equalent Yama Swar Pratham Dwithiya etc. When Singing Gandhar, Madhyam swar is sung in the form of Gamak and called as Krusht. 

Sa Re Ga Ma Pa Dha Ni

Tritiya Dvitiya Pratham Krusht Atiswar Mandra Chaturta

1 10/9 32/27 4/3 3/2 5/3 16/9

Based on the mathematical Ratios, Ga and Ni are komal and rest of the Swars are Shuddh as in the Shadaj Gram of Bharat.

Sama Gaan had option for different starting note and concepts of vikrit swars were also introduced later.

Use of Octave in Saam Veda

With development of Saam, the use of three vocal registers is also noted. The Brahman and Shiksha granthas mention the use of yamas in the Mandra, Madhya and Uttam Staan

Saam Gaan laid great emphasis on special application of Swars. The ways in which swars were sung was called Shruthi Jaathi. The usage of the word Shruthi is not the same as how it was used in Bharatas time. There were five Shruthi Jaathis which had specific symbols for notation. Mridu and Madhya had no symbols and were based on oral instructions. Naradiya Shiksha says that one who is not well versed with Shruthi Jaati is not an acharya.

Deepta Ψ 

Aayatha ^

Karuna *

Mridhu Nil

Madhyama Nil

Naradiya Shiksha also gives the relation between the yama swars and Shruthi Jaati. 

1. Pratham used Mridhu Shruthi Jaathi

2. Dvithiya, Tritiya, Chaturta, Mandra, atiswar used Deepta Shruthi Jaati 

3. Krusht was sung with Karuna Shruthi Jaati

4. In special cases, Dvithiya uses Mridu, Madhya and Aayatha Shruthi Jaati. Commentaries have explained that when dvithiya is followed by trithiya, dvithiya uses aayatha shruthi. When Dvithiya comes after Chaturta or Pratham, then it uses Mrudu Shruthi. When Dvithiya is followed by Dvithiya it is Madhyama shruthi jaati.

5. When a stanza ends on dvithiya swar and the following stanza starts with a Krusht or Mandra swar or if the Saam ends on the dvithiya swar, then it uses Deepta Shruthi.

The purpose of Shruthi Jaati was to express an emotion characteristic to the name of the shruthi Jaati. Deepta infuses brightness and Karuna evokes compassion. 

The mantras of the rig veda were modified to make it suitable for singing in the style of Saam. These changes were called vikaar which were six in number. 

1. Vikaar – In this change, the syllables of words were modified 

2. Vishleshan – In this change,the words were broken into parts and sung with modification

3. Vikarshan – In this change,there is stretching of words and the swar associated is sung for extended time

4. Abhyas – In this change,the words are repeated 

5. Viraam – In this change, a pause is introduced.

6. Sthob - In this change, exclamatory words such as ho, hau, Auhova were added.

The Saam Samhita is sung using the Udatt, Anudatt, Swarit. When it takes the form of a song using the yam swars and Saam vikaar it is called Saam Geya Paat. The name of the sage who has modified the mantra is also attached to the mantra. 

To understand Saam gaan, one must understand its notation. The notation of Sama Gaan was explained by Shri Laxman Shankar Bhatt in his book The ancient mode of singing Sama Veda. 

1. Sama Veda used numbers to denote the Yam swar

1 2 3 4 5 6 7

Ma Ga Re Sa Ni Dha Pa

These numbers were written on top of the syllables. 

1. The starting swar of the Saam gaan was taken as the key note or in todays parlance the tonic or Shadaj. Hence by using different Yama Swars, the concept of vikrit swar arises if the starting swar of Saman is taken as Shadaj. This is same as murchana.

2. If a syllable has a number on top and a number written immediately after it then the vowel of the syllable is sung with the respective swars as per the number. The numbers 6 and 7 are usually not available as starting swars. The Swars Krusht and Atiswar are also not used as starting swars.

3. When the symbol र is written on top of an Akshar, then it is made deerga or extended for two matras.

4. When any Akshar is followed by an avagrah ‘s’ then that Akshar is sung for two matras.

5. The symbol उ denotes high and क denotes low.

6. If any Akshar has a dash ‘–‘ written over it, then it is sung for three matras

7. The symbol ‘ ^ ’ over an Akshar means that the swar of the previous Akshar is to be continued on the said Akshar. 

8. The symbol ‘ || ‘ denotes an end of a portion. The portion between to such lines is called a Parv. Usually,a Parv is sung in one breath.

9. Pranav or Om is sung before every Saam.

Gaatra Veena

While learning the Saam, students also practiced to use the crease in the fingers on the right hand to denote the Swars of the Saam Grama.

The tip of the thumb is considered Pa. the middle crease of the thumb is Ma. Similarly, the middle crease of index finger is Ga, the middle crease of middle finger is Re, the middle crease of ring finger is Sa, the middle crease of Little finger is Ni, Last crease of Little finger is Dha.

The student keeps moving the thumb on these creases to refer to the swar as per the Saam notation. 

With development of the Saam Geet, aspects such as alankaar and Gamak were introduced in singing and playing the veena. Hence technical terms for the various ornaments were given.

1. Atikrama – Skipping of one swar at a time such as PN NR DS

2. Roha – ascending order of notes or Arohi Varna such as SR SRG SRGM

3. Karshan – here the Swar is sung with meend 

4. Udghaat – It is also called Aahat Gamak or Khatka is applied on the swar

5. Vinat – The Swars are sung in reverse order G-M M-G

6. Atyutkram – small alankars like murki such as SNDN

7. Pratyutkram – This was also a type of alankaar

8. Gati – Any Akshar is extended with attaching ‘e’ or ‘u’ 

9. Atihaar – Adding a sthob inbetween a word

10. Parv – Lines of a mantra sung in one breath

11. Samprasaaran – Small alankaars or Taan in the swars of the Saam

12. Udvah – singing a higher samvaad swar from the original notation

Vowels play and important role in determining the time for pronunciation of any word. The total number of vowels in a mantra determines its chhand. 

Popular chhand that were used are Gayatri, Ushnik, Anushtub, bruhati, Pankti, Tritup and Jagati.

In Saam gaan, since there are various changes done to the mantra, the no of vowels increase. Hence the original chhand is not available. Rhythm is an essential element in recitation. The term vritti was used for Laya. To keep count of matras, terms such as Harsv, Deerga and Pluta were used to denote 1, 2, and 3 matras.

Learning was always done in slow speed and performance in very high speed. 

There are five parts for the purpose of singing. These were called Bhaktis. (1) Humkar (2) Prastaav (3) Udgeet (4) Pratihaar (5) Nidhan.

The Brahmins who were designated to sing these Bhaktis according to set rules were referred to as Prastotaa, Udgaataa and Pratihartaa. The Udgaataa was the main singer. 

The three singers join to sing the humkaar for some time in the starting Swar of the Saam. 

The Prastotar then sing the Prastaav after singing Om. 

Next, the Udgaata sings the Udgeet which is the main part of the Saam. Udgeet means high pitched song or sung in higher registers. 

The Pratiharta joins in the last line and continues to sing the Pratihaar.

Nidhaan is the concluding part sung by all three priests. At last Om is sung by all priests and the Saam is ended.

Scholars link the development of Prabhand and Dhrupad to these divisions of Saam geet.

Some times there are 7 bhaktis in the Saam

(1) Humkar (2) Prastaav (3) Aadi (4) Udgeet (5) Pratihaar (6) Upadrav (7)Nidhan. 

The first part of Udgeet is Aadi and the last part of Pratihaar is Upadrav. Upadrav is sung by Pratihara.

The Veena was used as an accompaniment for Saam recitals.

While most of the Schoalrs from the time of Bharata consider the source of Musical Notes and Scales to the Saam Veda, there has not been any clear link with the Saam Vedic Swars.

The text Pushpa Sutra is an ancillary work on the Saam Veda dealing with the technical ascpects of Saam compositions and rendering and its melody. A particular rule in the sutra talks of use of Uduha which is a Swar which is two swars higher than the Chaturta, Mandra and Atiswar. This can be called as a harmonic fourth. This would mean that the Swars Pratham and Chaturta, Dviitiya and Mandra, Tritiya and Atiswar have consonance. 

The term Uduha is a modification using higher or brighter pitch and in the sacrifices of Uha and Uhya Samans, the Swars Chaturta, Mandra and Atiswar are replaced with Pratham, Dvitiya and Tritiya or Harmonic consonant Swars. 

Hence the Swars Ga-Ni, Re-Dha and Sa-Pa are consonant.

Panini also talks about the relation of Musical notes and vedic Swars - Udatta is Ni Ga, Anudatta - Re Dha and Swarit are Sa, Ma Pa. Hence the interpretation is that the similarity of swars is attributed to the consonance between the swars.

Summary

We can conclude that Saam Gaan and Geet provided the basis for development of Indian classical music which over the years have undergone changes in terminology and practice. 

1. The use of harmonic consonant swars in Uduha modification of Uha and Uhya Gaan could have given rise to the concept of consonance between swars in the musical scale

2. The concept of taking the starting swar of each Saam as Shadaj paved way for the concept of Murchana. This also led to the indirect usage of all vikrit swars both komal and Tevra Swars.

3. The Gaatra veena method of learning is very similar to the later notation method of Western Staff notation which uses five lines similar to the five fingers when placed horizontal. 

4. The chandogya Upanishad also mentions group singing of Saam.

5. Since Each Saam can have a different starting swar, which was also considered as Sa, it gave rise to different melodies as the intervals of the swar would change. This was later adopted in the concept of jaathi and Raag as Saam had anywhere between 4- 7 swars

6. The use of various musical ornaments in vocal and instrumental tradition also started with Saam.

7. 
   

References

1. Bharatiya Sangeet Ka Ithihas - Thakur Jaidev Singh

2. https://shodhganga.inflibnet.ac.in/handle/10603/153488

3. https://vedicheritage.gov.in/introduction/

4. https://vedicheritage.gov.in/ebooks/The_Puspasutra_A_Pratisakhya_Samaveda_Vol_I.pdf