![tamil gana pattu bad words tamil gana pattu bad words](https://masstamilan.cc/wp-content/uploads/2019/08/Bad-Boy.jpg)
Soon, the system of chanting grew and the Sama Veda classified four types of chanting: The sensitive individuals could supposedly hear 12 of those ‘ Swayambho swara’ for every note ( Ayyangar 4.) These were termed Swayambho Swara and proceeded in the order: P S G P N S R G. Upper partials or overtones were used as well. Simultaneously, congregation chanting arose with people singing in multiple octaves. Deergha, Hrasva, and Pluta were the names of these patterns in descending order of time. Rhythm was introduced in patterns of defined syllable lengths. At this stage, the stage where the Swarantaara had come into being, the concept of rhythm came into play.
![tamil gana pattu bad words tamil gana pattu bad words](https://img1.wsimg.com/isteam/ip/04433131-cbb7-4d56-8eab-043900564722/20200712_032758.jpg)
A feature that is of utmost importance is rhythm.
![tamil gana pattu bad words tamil gana pattu bad words](http://www.cinejosh.com/gallereys/actress/normal/anushka_new_photos_2401131058/anushka_new_photos_2401131058_050.jpg)
It is important to note that tones and tunes are not the only elements involved in music. The tetrachord that then came into being was known as Swarantaara. The fourth note was placed above Anudatta. Eventually, a fourth note, Prachaya, was added to the three. The three tones, in their ascending order, were known as Anudatta, Svarita, and Udatta (Ayyangar 2). From there it became Gaathika, or two-toned, which lead, in turn to Saamika, a three-toned scale of music. The holding of a single note, though seemingly banal, is not plain speech, since one must modulate the vocal chords in order to maintain a single pitch. Originally recitation was monotonic, known as Archika Gaana. The Vedas that were to be recited everyday had to, necessarily, have some life or character in them. The Vedas were not written down and were learned only through hearing, giving them the name ‘ Shruthi,’ or that which is heard. Recitation was the method by which they were transferred from generation to generation. Since the whole culture was based on the Vedas, the overflowing bank of knowledge that dictated everything from the mundane necessities of day-to-day life to rarities that occurred once in a blue moon, the recitation of Vedas was important. Vedic recitation was what actually gave rise to music. Naada was personified in its unmanifested causal aspect ( anaahata naada) as the goddess Saraswati and in its manifested aspect ( aahata naada) as a musical sound surcharged with divine energy ( Prajnanananda 41). Many creation myths cited in the Vedas involve music, especially as the deified primordial sound, Naada, or Naadabrahma. It reaches back to two thousand years B.C.E. The origins of Indian Music are generally traced back to the Sama Veda, making it the oldest system of music in the world. A Brief Overview of the Evolution of Indian Music