TAITTAREYA UPANISHAD – 1: Sheeksha Valli: Science of Vedic Chanting” Post-2. - Rishi Yajnavalkya

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Sunday 12, October 2025, 18:30.
TAITTAREYA UPANISHAD – 1: Sheeksha Valli:  Science of Vedic Chanting” - Rishi Yajnavalkya 
on the Series of 14 Lectures  by  Swami Advayanandaji. 
Reflections:  SWAMI GURUBHAKTANANDA.

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SHEEKSHAA VALLI 
PART 1: 12 Nos - Anuvakas (Chapters) 
THE SCIENCE OF VEDIC CHANTING 
Post-2.

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SHEEKSHAA SHAASTRA: 
Anuvaka 1.
2.Science of Vedic Phonetics 
Mantram: 1.2.1.

1.

om sheekshaam = Om. the Science of Phonetics,

vyaakhyaasyaamah; = shall now be explained by us. (It has 6 constituents )

2.

2 varnah swarah; = 1Accent or quality of sound, the 2pitch or level of sound;

maatraa balam; = 3 Measure, and the 4effort put into articulation;

saama santaanah; Uniformity of 5speed; continuity or smooth 6flow in recitation;

3.

3 iti uktah sheekshaa dhyaayah. = Thus has been explained the Science of Phonetics.

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The Rules in Sheeksha:
There are 6 constituents in the Science of Phonetics or Mantras:

i) Varna: the “basic sound” of alphabets or letters. There are 9 basic vowels; 6 combined vowels; 25consonants; 4 semi-vowels; 4 Ushmana or aspirated consonants; and 3main consonant combinations. This adds up to 51 characters in the full Samskrit alphabet,which is double the number of letters in English.

ii) Swarah: “accent or pitch” of the voice. In Vedic chanting, three notes are identified. They are Udata (elevated), Swaritah (normal), and Anudata (depressed or unaccented or low). In text these are clearly marked with strokes above or below the respective alphabets.

iii) Maatraa: this is the “measure of time or duration” for each syllable. Hraswa is the normal, short, single length duration. Deergha is the double or elongated length. Pluta is the multiple length, i.e. 3 or more Matras.

iv) Balam: This is the “strength” of the voice for a particular syllable. It indicates emphasis. A strong emphasis requires more effort in pronunciation.

v) Saamah: this is “uniformity” in the speed of the chanting. It is equivalent to rythym or beat in music. It should be quite brisk, sufficient not to make the recitation boring, but slow enough so that the letters can be heard clearly.

vi) Santaana: this controls the “flow and continuity” of the recitation. The Sandhee points require specialattention in Santana. Samhita is another term used for these junctions.

The next section deals more with Samhitas or Sandhees.

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Next

MAHA-SAMHITAA UPASANAS

Anuvaka 1.3

The “Great Word-Junctions”

1.3.1a Prayer by Teacher and Student

Continue

Swami Advayanananda

Swami Gurubhaktananda.

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