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difficulty. Since the flow of melody in these chants is more continuous than the flow of speech in recitation, the Samavedic mudr膩s are more dynamic than those of Rgveda. They should be seen in movements, while the chanting is heard. Words alone and picture alone are both misleading. A proper study can only be made with the help of cinimatograpy. Here I峁�峁璱 Ravi Namp奴tiri chanting the initial portion of the first chant of Jaiminiya Gr膩mageyagana with the accompaniment of mudras is shown with the help of photographs. These photographs also illustrate the gestures that accompany the chanting by Itti Ravi Namputiri of the beginning of Jaiminiya Gr膩mageyag膩na 1. 1 ( 啶椸�屶い啶�啶膏�嵿�� 啶�啶班�嵿�曕�� ) [gautamasya parka岣� ) ] The chant begins with a sequence of fifteen svaras, sung to the single syllable 鈥渙鈥�. The first three are not accompanied by mudras, but merely counting the movement of the fingers. The remaining twelve svaras consist of a sequence of elementary positions of the right hand. The hand is held at three vertical levels: high (upari), middle (madhyam) and low (adha岣�). It may be moved to the three horizontal positions: right (dak峁�i峁嘺), middle (madhya) or left (v膩ma). In each of these positions the hand may be held in one of four ways. 194