तस्मादृचः साम यजूंषि दीक्षा यज्ञाश्च सर्वे क्रतवो दक्षिणाश्च ।संवत्सरश्च यजमानश्च लोकाः सोमो यत्र पवते यत्र सूर्यः ॥ ६ ॥
In plain words
From that come the Ṛcas, Sāmans, and Yajuses; Dīkṣā, all yajñas, Kratus, and Dakṣiṇās; the Saṃvatsara, the Yajamāna, and the worlds where Soma flows and where the sun shines.
The commentators
Muṇḍakopaniṣadbhāṣyam
किंच, कर्मसाधनानि फलानि च तस्मादेवेत्याह--कथम् ?
तस्मात् पुरुषात् ऋच नियताक्षरपादावसाना गायत्र्यादिच्छन्दोविशिष्टा मन्त्रा , साम पाञ्चभक्तिक साप्तभक्तिक च स्तोभादिगीतिविशिष्टम् , यजूंषि अनियताक्षरपादावसानानि वाक्यरूपाणि , एव त्रिविधा मन्त्रा । दीक्षा मौञ्ज्यादिलक्षणा कर्तृनियमविशेषा । यज्ञाश्च सर्वे अग्निहोत्रादय ।
In plain words
He next shows that the instruments of karma and its fruits arise from that same Puruṣa. How?
From the Puruṣa arise the three forms of mantra. The Ṛcs have fixed syllable counts, metrical pādas, and endings, and use metres such as Gāyatrī. The Sāman is arranged in five or seven bhaktis—divisions—and is sung with stobhas, the inserted syllables, and other musical features. The Yajūṃṣi are prose formulas whose syllables, pādas, and endings are not fixed. From the Puruṣa also comes Dīkṣā, the performer’s consecration, marked by the muñja-grass girdle and other disciplines, as well as every yajña, beginning with Agnihotra.
Close to the Sanskrit
Further, he says that the means of karma and its fruits are also from that very Puruṣa—how?
From that Puruṣa come the Ṛcs: mantras whose syllables, pādas, and endings are fixed and which are distinguished by metres such as Gāyatrī. The Sāman has five-bhakti and seven-bhakti divisions and is marked by singing with stobhas and the like. The Yajūṃṣi have no fixed syllable count, pādas, or endings and take the form of prose sentences. Thus there are three kinds of mantra. Dīkṣā, marked by the muñja girdle and the like, is a particular discipline imposed on the performer. And from him come all yajñas, beginning with Agnihotra.