Madhu Kanda. Adhyaya 1, Brahmana 3. The contest of the vital breath
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Each mantra is given four ways: the Sanskrit in its Devanagari script, the same sounds in Roman letters, an English translation set in our own voice, and then the line once more in plain words, for a first and unhurried reading.
Not every passage is opened to the same depth. A few central mantras carry the full cross-school commentary, where the schools are set side by side. The rest are kept here whole and faithful, set in their place but not expounded, so the book stays entire and nothing is dropped for being thought minor.
Where the schools read a line differently, the difference is kept open. None is crowned and none is corrected. Each is met on its own terms, and where they contradict, the contradiction is left standing for you to sit with.
The wealth of the Saman, its tone
Of this Saman, one who knows the wealth comes to have wealth. Its wealth is just the tone. Therefore one about to perform a priestly office should desire a good tone in his voice, and with that voice rich in tone should perform the office. So in a sacrifice people wish to see a priest with a fine voice, as one who has wealth. He who knows the wealth of the Saman thus comes to have wealth.
Of this Saman, the one who knows its 'svam', its wealth or own treasure, gains wealth. The wealth of the Saman is just its musical tone (svara). Therefore a priest who is to officiate should seek a good tone in his voice, and conduct the rite with that well-toned voice. For this reason, at a sacrifice people want to see a priest who has a fine voice, regarding him as one who possesses wealth. Whoever knows the tone to be the wealth of the Saman in this way comes to possess wealth.