jaiminIya sAmavedaM sandhyA paddhati

सायंप्रातरुदकान्ते पूतो भूत्वा सपवित्रो ऽजद्भिर्मार्जयेतापोहिष्ठीयाभिस्तिसृभिस्तरत्स मन्दी धावतीति चतसृभिर्वामदेव्यमन्ते शुचौ देशे दर्भेष्वासीनो दर्भान्धारयमाणः प्रत्यङ्मुखो वाग्यतः सन्ध्यां मनसा ध्यायेदा नक्षत्राणामुदयादुदितेषु नक्षत्रेषु त्रीन्प्राणायामान्धारयित्वा सावित्रीं सहस्रकृत्व आवर्तयेच्छतकृत्वो वा दशावरमथाग्निमुपतिष्ठते ऽग्ने त्वं नो अन्तम इत्यथ वरुणमुपतिष्ठते त्वं वरुण उत मित्र इत्येतयैवावृता प्रातः प्राङ्मुखस्तिष्ठन्नथादित्यमुपतिष्ठत उद्वयं तमसस्परीत्यथ मित्रमुपतिष्ठते प्र मित्राय प्रार्यम्ण इति स यदि सूर्याभ्युदितः सूर्याभिनिमुक्तो वा तच्छेषं सावित्रीं मनसा ध्यायेत्सैव तत्र प्रायश्चित्तिः ॥
After having morning and evening bathes ( snAna ) , sitting in clean area ( shuddha desha ) on darbhaMs  , wearing darbhaM ( pavithrI ) , purifying oneself by performance of achamanaM ,  one should perform mArajana by 7 mantras ( three ‘ApohishThAdI‘ and four ‘tarata sa mandIAdI‘ ) .Then one should sing ‘vAmadevya sAmaM‘ ( generally chanted for pacifying obstacles and for threefolded peace ) . Now one should perform three ‘prAnAyAmAs‘ and should meditate on ‘sandhyA‘ .( Then one should offer 3 ‘arghyas‘ to ‘surya nArAyana‘ ) Now he should recite ‘gAyatrI‘ mantra 1000 or 100 times in case of disability at least 10 times. In evening one should perform upasThAnaM of agni and varUna by ‘aganE tvaM nO‘ and  ‘tvaM varUna Uta mitrTra ‘ mantras . Then one should disclose sandhyA by japa samarpan , dishA namaskAra and abhivAdaye .
( jaiminIya grihya sutraM_१.१३)

gAyatra sAma of kauThums

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jaiminIya sAmaveda rUdraM

The Primacy of sAmavedaM is in UpAsana through the singing of hymns . The science of music is said to have evolved from this vedaM , gandharva vedaM is a subsidiary of sAmavedaM ,
as with other vedaMs, sAmavedaM originally had numerous branches, but only three exist now ( jaiminIya shAkhA, rAyayaNIya shAkhA , kauThuma shAkhA ). The jaiminIya shAkhA been traditionally chiefly practiced in the states of tamiZh deshaM and kerala deshaM .
sAmaMs are made by modifying riks using the same words, changed, repeated, deleted, or letters and words added, all according to strict rules, with no provision for improvisations. The musical chanting has come down through the ages from Acharya ( gurU ) to shishya  by word of mouth. The jaiminIya shAkhA  is the most musical of the three existing branches. While other vedaMs use three notes (swaraMs) sAmaM is sung using seven notes (prathhama, etc.). jaiminIya shAkhA uses syllables consisting of regular vowels and consonants  for its svara marking , svara marking is limited to the gAna part of the jaiminIya shAkhA . The svara marking of the jaiminIya shAkhA  is a different matter entirely and has  not  been studied and analysed yet . Following is rUdraM of jaiminIya shAkhA consisting of 11 sAmaMs.

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Footnotes

1) Words such as hAbu, hAvUvA, OyiZha and hAyI, are stobhas for jaiminIya shAkhA . ( kauThuma shAkhA have hAvU , hAvUva , OhaiyA and hAyI as stobhas )

2) The method of musical chanting among kerala brahmanas is quite different from the tamizh brAhamans of the same branch. Only nAmboothirIs use “Zha” in their sAmavedAlApanaM.

3) A peculiar type of svara marking is also there for jaiminIya shAkhA having 4 svara marks
a) Ring Above
b) Double Ring Above
c) Vertical Line Above
d) Horizontal Line Above

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Other type of svara marking of jaiminIya shAkhA

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