art Aran Devin sd pubinked by saya Baizan Davi at Poo, Prefuoe by the author... . The object of the Brochure Masieal sound . Harmonies. . Nodal points and Ventral semen Reflection of sound ase Sympathetic Resonance * cS rn a Taw6of the vibrations of strings aud of artifc produced harmonies... Simple ritios of conscnant notes Beats. ‘Resnltant notes or diferenco notes = The positions aud vibrations of the seven notes of the Diatonie Seale and the octave, worked ont mathemati ally Ff my (Ci) and g, (G, ) CF) x) &(D) andy (A) Perfect and imperfect concorte a (E) and ft (B) w (E) and fi (B) again, Notes and summary... The Byolotion of the Hinda Diatonic major and wr sealee—The rer eacea! nul der eee _and lis! 6 3 a lee Seales — et scale of 22 Shratees" < \ . ‘Table A. Indian Diatonic Major Seale ot afar ereama--- 26 ‘Table B. Tndian Dintonic Minor Seale of § Flat notes or ars er te . ow tt ‘Table ©. The Indian sharp and ab notes or tox aioe RUWHNTE MIT eae ‘Table D. ‘Tho seae of 22 Indian notes or the -yft scale. The Diachord. a ‘The Shratees. Different views .. Mr. Sabasrabnddhe a. vs ‘Mr. Chinna Swami Mudliar .. Raja Surendra Mohan ‘Tagore Capt. Day and Mr. Elis Raja Ramn Bal Singl Mr.Pingle wes ‘The conclusions. Appendix A. A.note by Bir, Chhatre a. ‘Appondix B. Extracts from Enropean writers on tho Hmaportauce of Melody wwe see = i ‘ames of the sev the Hindn Musical Seale, List of abbreviations used in the book. n notes of Carresponetians names nse by European Seiuntists, Arist —™ ae - Do. oH Dd Re. hare Mi. wt. i Ba. an Sol coo . Ok La. B xi TTS “ if + Double th BRE ae thats or Double shir ie Sharp.\ 1 “who have sufficiently keen musical perception to INTRODUCTION, 5 The-work accomplished by Mr. Divat, it wor rdly be an exaggeration to say, marks an epoch in the his, India Music. As he tells us, many treatises have already a written ‘on the subject, but those, who have heard Indian Musie and ppreciate the: aid smoothness and beauty of the intervals used, misc | down some of those books after reading: them with. fe bewilderment. If Mr. Devat's results are seale whicl is several thousand years ol will rnost perfect example of x natnfal nntempere ‘That Mr, Deval’s 22 Shruties are the correct ones may in the first place he presumed from the fact that he has studied the latest Enropean literature on the subject of the formation of scales, and has spent eight yearsvin testing the notes ased by various singers in order to as exnet intervals whieh: te singers endgavour to pr As hie tells ns he has been gnided by the prineipte laid down by old Indian writers on Music, that the simplest ratios are ‘always the best mmiel out as the seal Secondly it will be found thaty altho Deval did not ies by major and tninot thirds. they will stund th ‘est. Oneof the prineipal intervals, Ceo K, isavoweilly furvsed hy “ Anavadi or imperfect consonance. Indian sine 4 familiar with thirds, and in their more claborate eiZort« make w frequent use of arpeggio forms with thirds, fifths und other hhasmonie intervals ; it may be inferrud thas the roationships by thirds which exist among the 22 Shraties ave not by ny means accidental.” ° © he major ohieda BREp Remar epTit ‘Be remembered that in ‘a Murchchhana; the quarter tone involved is frequently combined ina: peculiar’ kind of omamentitions with its ffth. Tt follown that éach note used as a Murchchhana? must have its fifth amongst the remainiig Shruties, aE In this way Atikoxial Rishab which, as {have said, amay? ‘be an essential note in the Shudj Grama, but which ie generally Pied'ss Murchetihana upon the note Sa, hes its correspond: ing note * Atikomal Dhnivat.’ | TE the notes of the Tives and Komal sales, those have mentioned as being traceable 0 the Gramas, and their corresponding ‘fifths, fre eliminated, there’ remain Tivratar Madhyam of 345 3/3 vibrations and Tivratar Nishad of 455 5/8. ‘These notes appear to be actually used as sential notes in combination -yiths ‘ Madhya Dhaivat’ and “Tivra Gandhara’ in one Raga, This involves the use of harmony which is unknown to Buropean Muse, Tivrater Madhyam also: corresponds with G flat in its harmony with Komal Gandhara and Komal Nishad, Thirdly, a test may be applied based on the thrve Gramas. | ‘This subject is nét well understood at the present-day. So ffir | as Tein gather, the aneient system perinited of two kinds of || Modulation, modulation from one inode or Ragu’ to another using in each Raga certain yell defined combinations of. the Tivra and Komal notes of the scale as essential notes-and certain others as auxiliary notes or *Murehchbanas, and modulation from one Grama to another. The Shuilj Grama is referred to Panchama or G as the fundamental note, the Madhyam Grama to Komal Madhyam or F and the Gandhara Grama to. Tivra. Gandhara or B Me, Deval’s Atikomal’ Rishnb ‘or C- sharp, would in the Shadj Grama correspond nearly with ‘Tivra Madhyam.* ‘The intervals used in the Gandhara and Madhya Gramas have been descriliad by various authors. ‘The first has its semi-tones bétween the 2nd and 8rd and gh and Gth wi therefore corresponds with B, F sharp, G, A, B,C D, BE. The ‘Madhya Dhaivat* of 400 vibrations. appears to be required in this Grama, ‘The Madhyam Grama in, which a seale like om: jist major scale is used, ‘reyuires Madhya Rishab, Madhya Dhaivat and Atikonsl Nishul ; ascertained from Me, Deval’s monochord that Prof. Abdul Kareem actually used these notes in the Bhimpalas Raga whieh is evidently sot in the Madhyam Grama, Lastly it must be noted that the tenth note, Atikomal Madhyam, is the familiar dominant. seventh.} As one would expect itis only used in eonjimetion with or Tivra Gandhara, OF the remaining notes some are said: to be used only as “Murchchhanas? orauxiliary notes ; in this connection it is to- Mt. Deval's 22 Shruties appear to throw considerable lit on the question of the constitution of the Anciont Greek Meclos ind will, T have no doubt, prove ofthe highest interest to Bae {pbetit Scientists. In his book on the “Sensations of Tone,” Prof. Helmboltz expresses doubt whether the Greek Medes mene baile Hv from the relations of For those of G and he suggente that ‘they may possibly lave been built up from both, If che Komal wat Mr. Deval’s sale are taken with Sa and Pay as in the wala: which he calls the Indian Diatonic Minor Scale, a seale is sbtained which isin all probability identical with the Derk, Mode. It the identity is accepted, it follows (1) thee B fae 3, Sfth shove E fiat ad isu relation oP C, (2), that A fat Bite sit dove D fat andisa relation of F. Te alo follows that He ancient scales until the time of Pythas ‘tuning ex- Alusively by fifths or thins mas unknown: the oo ea grtich are obtained by fifths and thirde combined, being: used. {Tn severel Ragas timo. (Fshirp) and IK, dha, (A fat) are found together. The formor note haa been tested and eannot he mistak for any other auch a8 fiat. "This, together with th tonio and dossinent Pedal and the progretsion of melody uéod, appests to show that ther “augmented sixth? is kmown to India Maal Ziwe It isonly ina system like the European, where transposition from one fixed key t0 another, and extensive modulation is practised, ‘that tuning by a long series of fifths, tempered or otherwise, is likely to Tead to anything but confusion, ‘The Indian. Tivra seale substitutes F sharp for F and the fifth above, D for the A in our major seale, thus producing the smoothest aud most harmonious sexle possible, one in which every note is in pri- mary or secondary harmony with G. This scale appears.to be identical with Syntono-Lydian Mode, As regards the question of tonality, writers who accuse Indian Music of being deficient in that respect are probably not aware that it is an almost in- variable rule for Indian Ragas to be accompanied by a pedal bass of the tonie and its fifth, ~The effect is certainly to sug- gest harmonies which lead to’a fall. close on the tonic in mi Ragas and in some perhaps to a half close on the same chord.* Indian Musicians owe a great debt of gratitude to Mr. Deval, for, now that the Shruties are known, it will be possible tw construct harmoniums which will be in tune with Indian Music. The tempered harmoniams now in use whieh have a painful effect upon Indian ears will then be diseirded. I have no doubt that with the advent of properly constructed keyed instruments, Indian Music will enter upon a new era of progress and development, possibly in the direction of harmony, for barmony isalready extensively practised in the form of irregular Axpoggios. This progress will be hastened by the invention of a simple musical notation ; and for that purpose also Mr. Deval’s reseurcies will. be of the utmost value, Brveaviay 21s6 Oct, 1910. E, CLEMENTS. '* ‘The Bed being omitted the over-tones would strongly suggest a tnajor chord, Mr, Deval has promised to undortako a catefal oxamina PREFACE. ‘Tyvo years ago I published: small brochure entitled “ Music Fast and West” dealing mainly with the scientific value of the ‘Hindu musical seale snd the question of * Shrwtees.” Bub ‘further study of the subject has enabled me to state more fully any humble views and henee the present pamphlet. T read specially Capt. Day's Book on Musie of Southern India” which was suggested tome by Sir J. W. Muir Mackenzie, the late Revenue Member of the Government of Bombay. He bas a fine ear for Music. About 8 year’ ago T had an opportunity of explaining the subject to Sir 4, W. Muir, Mackenzie, when Taid before him- my views, and practically demonstrated them. vwith the help of Profesor Abdub Kareem, an artist of great renown on this side of India, Tulso perused with great interest and profit the late. Mr. A. J. Ellis’ paper on the “ Musical Scales.”” ‘of. the World.” Besides. the'valuable light thrown on the subject by these treatises, Ilnad alo much and invaluable enlighteniment* from Helmholtz’s “Sensations of Tone” « anasterly work on the Science of Musie. .. The perusal of these and other works hns served to stwengthen the views previously ‘held by mo. The tables of Scales in the present brochure are -almost entirely worked out afresh, and in some respects differ rom those in the old pamphlet. In that work I had tonched ‘upon the question of Sirutees so far only as.the Diatonic Scale ‘of seven notes was conexmed. In this brochure, I have arrived ata probable solution of the whole question of 22 Shirutees, ‘Tho paper reed in the Kiloslar Saigit Thre on the Shrutes inoorporaed in this jamplilet,--\ eee ‘should be nineatcal sue aun anphlie that | “pat v0 Finds of tonce—the ute “the natural scale‘and those of the éeniperedstale. According. to Blaserna the ‘wibrations of those notes sto ds follows -— Natural Scale of Just Major. 207 SD ere Rep iGa as Be TO 240, 270, 300, 820, 860, 405%, 450, 480. Tempered Scale. 240, 269%, 302%, 820%, 3593, 4033, 458; 480. Te will thas be séen that the above two scales are quite -different. When a Enropean repeats the seven notes of the Modulator, Dho. (4); Ray, (2); Me, (m); Fab, (1); Sob, (5); Lah, (1); Te, (t); Dho, (d); he necessarily refers to the noves Of the tempered teale which, is now universally used in Europe {in vocal as well usin instrumental musie. ‘The Hindoo Musician, who repeats the seven notes of the natural scale, refers to th natural scale which is given above. ‘The notes’ in the natural sealo are indicated by the letters C, D,°B, &e as has been done inl Scientific Books, and not by the usual small letter Solfa motation to prevent ambigitity and confusion, Iam, however, for the present concerned with the notes of the Hindoo Music and as such with the notes of the natural seale only, noted above, The sharp and flat notes +—The sharp and flat noigs of the tempered scale are the result of the sub-division of the interval between any two principal notes, into aliquot parts or equal -divisions. Such is not the ease with Hindoo Music. ‘The interval between Cand D or between 240 and ‘vibrations or the length of wire between 32” and 36" is -divided into 4 parts which, as measured by Ellis’s eents, are not -equal parts, but 70,42, 70,22 conts respectively. ‘The notes anaking up these intervals are called ate le 9, 81° 5% > 7 ate. The Indian word Komal must not be confused with 0 Hhereas our A is of 405 Blasora gives 400 as the vibrations of ‘vibrations, whieh is exactly tlio Patichama or tho 6th of D, vibrativis 270. vat at, nor ‘Tivia with sharp, nor must Atikomal be confused with: double flat or Tivatar with double sharp... ‘The nomenclature is ynite different. As a matter of fact Tivra coincides with sharp- in the case of only one note F'sharp, and Komal with flat in the ease of four notes D flat, I flat, A flat and B flat. Phe formule embodies deduced from in the pamphlet, which’have be laid down by Sanskrit writers, have been. worked ont for ine by my learned and. esteemed friend Mr. Nitkanth Vinayak Chhatre n. a., 10. %, Fellow of the Unive sity of Bombay and retired Deputy Educational Inspector C.D. T take this opportunity of thanking hin for the great. interest. he evinced in diseussing the subject and suggesting several improvements. I must also exptess my obligations to my friends, Dr. G. K. Garde, the Hon. Mx. V. R. Natu, Professor R. K. Joshi, late of the Fergusson College, Poona, andl others, who helped me much by their valuible contribution to the discussion of the subject. Lam extiemely thankful to Dr. Hamilton who ha avery fine ew and who very patiently heard m ration and encouraged me to continue my efforts in ‘this Tine. Mr. Mac ‘Millan, Assistant Collector, Ahmednagar, kindly came over to Poona and very sympathetically went through the whole pro- ‘gramme of the last demonstration which took place at the ‘Kirloskar Theatre in Poona and made several valuable sugges- tions. Leannot adequately express my gratitude to Mr. E. Clements, District Judge, Belgaum, who voluntarily and promptly extended his sympathy towards my efforts. He is edueated in Huropean Music and bas also a very keen appreciation for Hindoo Music. He has not only written an intelligent. intro- duction full of appreciation and suggestion at my request but has improved this pamphlet in matter as well a8 in form and hhas thos mado it intelligible to the uropenn well as to thevm Indian Public. Not only this, but Mr. Clerhents bas suggestod to me that there is a branch of Indian Music which roquires scientific and systematic treatment on. similar lines. He has ‘THE HINDU MUSICAL SCALE convinced ime that without the secre Be sh aD ‘ranch, the present attempt will be incompl jude to the ae, pee om of. Indian Rag’s and Ragini’s and especially to THE 22 SHRUYTEES. their notation, a subject. which T mean to take up as soon as ay Tean. Mr. K. B. Deval. (Retired Deputy Collector. ) Sanou, i K. B. Devan. 29-10-1916. For more than the last eighty several attempts teen nade to determine the Hina Mysicyy Scale with mathematical zrecision, by Taian and Enropean scholars. But hitherto ther have er aot been crowned with suoces 5 the solutions anvived at do not satiate the tests of reason. Neithor do they agree with eonelnsiovs noted hy Sauekeit writers on Hinda Music. Hence it is that I. propose to lay bofore the public a few thoughts abont the Hiniln Masical Seale aud the lines of its development and progress. It might. be- stated ‘hero at tho outsot that the Hindu Musical Seale dates as far ack as the Brabnan Period which is caloalated, according to modem re sarches, to extend from 2500 B.C.to 1400 .B. C. It is possible tht farther researches might molify this dato oz might, perhaps, carry it still farther buck, “Bat we may be certain that oir Seale 5 es furthor back than the Greek Seale which is acknowlodeed to be é he parent of molom European Scales. Capt. Day in his.“ Nnsie of nthera India” observes:—The Historian Strabo shows that the Greck influence exteridel to India, and also that Greek mnsicians of a in school attributed the greater part of the scioneo of music to ‘Tho antiquity of the Seale apart, the most important point about it is that it is formed in cousomuce with the laws ‘ion sical sound.’ It is a progressive Scale and * ® re laid down in old Sanskrit works on of India, with their austere ; for years together. in the quiet and ef by the bustle of oman babi- a Sin sccatmenetanneicemasinsiiessascnscnmasaneainiants ——2 tations, have preserved the results of their Inboars in their procions ‘works, ‘which excite even'to-day tho, wonder: aud admiration of the Cultured world In recent times tho attention of educated Indians fgarned to this Act of Arts, and men like the late Br. Kunte, Messrs. Fingale and Sohasraboddhe, Mr, Banhntti,Raja Sarena Mohan Tagore; Ar Chimaswami Hindlinr, bave waitten copiously on Hinda Music, Bat dificlt as the subject is, several points have been enshrouded in mystory, a. the Shratoes. In some of those recent publications thore appear misinterpretations of shlokas from the Sanskrit works. Honoe they have given rise to a number of wrong notions about the Hinan Musical Seale, and consequently about the value of Hindu asi, not only emnong Indians but also.among scholars of the West. Eqropean waiters on Hinda Music ¢g..Cupt, Willand (* Musio of Finduetan’’-a paper sent to thé Society of Arts in 1834), Sir William Tones (paper on Musical Sedles), Br. Bosanguet (paper rend before tho Royal Society of Artsin London in 1877 on the Hindn Division the Octavé), Mr. Pattersou, Cyptain Day (Busio of Sonthern Tndis), ‘hfe, A. J. Bllis (paper read bafore the Society of Arts in 1885 on the ‘Musical Scalesof the World), have come to hold erroneous views about the thoory of the Hindu Musical Scale. ‘his might be due partly to thoirignorance of the Sanskrit works on Music, partly tothe erroncons information supplied to thom by recent pnblicatious, and partly to thoassnmptioa thatthe Hindus must bave followed s system similar to the equal * temperament ’ system at present in vogue in| Europe, Jn1885, the late Mr. A. J. Elis, the distinguished English physic fist, scientist, and translator and oditor of Helmbolts’s * Sensi- tions of Tone”, in his payer on ‘the ‘Bfusical Scales of the World ”, after comparing aud examining the Soalos of the various nations “tmong them “the Hindu Musieal Seale also—came to the following conelnsion: ©The Musical Seale is not ‘ono’, not ‘natural’, nor even founded necessarily on the laws of the constitution of Musical sound ‘so beautifully worked out by Helmholtz, but very diverse, very) artificial, and very capricious.” ‘This Thombly submit cannot be said at least of the Masicil Scale, a3 will be. seen ftom tho. following. Now ‘olwerved by Professor Pietro Blaserna,. of the Royal» Univomit 3 ‘of Rome, in his valuable treatise on the ‘Theory of Sonnd: in its Relation to lus’, by a musical sealo is moant “ the col- lection of all the notes comprised between the fundamental note and ‘its octave, which suecoed each other and are intonded to snceced eich other with a certain pre-stablished regularity.”°“ ‘The rnusical seale is always the product of Uemusical activity of a nation gatading war naraber of tare.” Hoe to lo such wre impressions abont the Hinda Musical Seale to. stan a Teerlaod to sufer hem t_pouce te minis of Waster od Oriontal Scholars as to the rank which the Hinda Musical Seale should take in the masical scales of the world, is noither just nor reasonable when thore exists abundant evidence to disprovo the above allegations. ‘To elucidate all the difficult: points of so diffi- ccalt and scientific subject as Music requires an amount of labour, energy, and talent which is given to but a few 5 it is 1 stupendons task, and personally "I ‘feel it quite hazardous on ‘my part to attempt to undertake it. But approaching the subject wrth the humility aod difidence’ ofa stadeat, I have parsaed, my temps hero and Tay before the public th results of my bam 2. Te would be proper to state at tho outset Teo ai matset the laws of the served in their works on Hinda Music. In order to make this point nite clear, I place in juxta-position the laws observed by Sanskrit, ‘writers and those followed by naodern scientists of ronown.Europoan Scientists. (a) Sound in oar apprehen- sion is that which is beard and therefore oa only means of recog nizing its oxisteneo isthrougl the sensation on out ear. The auditory nerve alone can peresive sond, (Holmes? Vocal Physittogy- Ed, 1900-p. 52). (0) Sound on the offer Wine fs produced in onr ears and is therefore subjective; but vibra- tion is objective. It exists. in sounding boiies independently of the listener. ‘To a deaf man the vibration exists but the sound loos not. Sound is the result, of ‘vibrations.* Bloserna p. 27. | instraments. 4 Both make a clenr distinction between Sound . and Musical Sound. 1. Sound. 2. Musical Sound. (a) Musical sonnd strikcos us as being even, smooth and melo- ious like the tones f all sical Holmes p. 61. Cb). A note not accompanied ‘by its harmonies may sometimes ‘be sweet, bub it is always thin ‘and poor and therefore but Tittle Authors on Aryan Music. mnsical. Blaserna p. 165. (a) gfror (arg) y=to he ATTA UT A ieee art ty Zar. (8) satires titer! _ufaiegsforre et rer (Ce) sRRDeTenessT: yee eT area: arate Uefa eeTTETTTA ara ait ¢. Sm te for also din care. (2) ater Sererbrarea: aeetaae vet st. Sr A sr May be translated 1S ploy (2) In onter that a soma say acquire « musical character, it mnt satisfy the essential con dition of being agreeable to the Blaserna p. 74. Harmonies definad. ‘Sirings in vibrating do notonly (a)+(2)| Any sound which *¥ing as a whole bat have also ig heard by the ea several secondary motions, each and a sound proper wate) if, When strack, vibrates first in its entire length, secondly in two segments third ly in three 5 fouthly in-fous, and son. All of these motions are simultaneous and the sounds pro- ceeding from them are blend fand are. perceiver Tbooanse the ‘ea hears them. (a) Rae TESTE Mere: & Ne: 4 is the loudest, and is. called the fandamental or prime tong, and. ‘the others are called over-tanos, capper partial tones of harmonies. 3. Harmonies. Authors on Aryan Music. 3) seorireaar saree In Sanslait, Hormonice ave called srgcorarerasata: (0) geetaonit a: Farris corer: ert orate reheat reat : FOUR a. at 28 FRB (ce) caferterar aera: puftaPierstartct: (Harmo- ios) e761 wheats aire wea Bee are at 2 Se te. anita wee tateAuthors on Aryan Music. ‘Thenbove Sanskrit pieco mark cl (¢) translated by Sir W. Jones rans as follows : xx “Nitad sat watching from time to time bis large etre or monochont } Y palse of breeze, yyielde4 notes that pierced succes roconled by musical intorvals,** Pingale’s treatise, p. 251 w Té need hanlly be noted here that the great sage Nérad ‘perceived these Mfusical intervals: (otherwise called harmonies ) as arising from the whole length of | the wiro oot fro to vibrato om ita ‘own account and creating natural nodes and ventral segments as distinguished from artificial nodes and segments which it is neces | / ssury to prodnce (as willbe seen in the sequel) in the construction of the fifnsieal Seate.* + Naimada’s Veona i called werar Page 22 of “Hindu Musie™™ Gayan Samaj, ween use ‘aegis the mime g notot here. ‘en to the maria of Ni vata in the stanza, “Hrero wo hnvo in the clear potio ‘ought to arrest oar attention, - Nira arth and the wind st his iy fs fstroment with the Morchhana of hi, noted down a fact which, leseending Tom the Iieaven 10 the the Mahatl, He. was_obeerving | hia ‘he ceveral Gratnar displayed or unfolded by fhe sreral Sears ( oper gaa fone each showing "nthe rag. i | ‘ltdptsactste wenelsesments, Sic Willan Joes ecw to Have Geer Stood the word Sirwtiatbeordlaiy meanog of ear mses. im tone ig te ldap ie mcondany or wp parl of over enn” Be Iter eAicial gmetn elon or oe Meenialy she ening shane fits ar) -Acoording to hin th vastus Swan fared tbe yale roepe sively the regions of his eur, and, 7 4, Nodal points and Ventral Segments. European Scientists, Authora on Aryan Musie. A string when rubbed is in a fitz: Ventinl segments state of rapid vibration ; at the and the . consequent production extremitios where it rests ou two of harmonics as defiued by Bla- Dridges, it appears to be at rest, sera wore observed by Narada in Bat when the mille part is exa- vibrating strings which were. set minod, it is fonnd that the string free to vibrate by the breeae. loses its sharpness of ont-line. — What an amount of patient Te appoars sensibly thickened and and exrefal observation must this thickening reaches its maxi- have been bestowed in the time ‘mom atabout the middle of the of Magha when the poet conld string which proves that each describe the celestial musician particle of the string performs a Narada as having detected by to and fro movement in direction his dyes and ears these ventral perpendicular to the length of the. segments and harmonics ! ae Je ot Ss sort Somanith refers to harmonics fare called transverse. ‘The most simple form of vibration is that 3% BS cata. Ta Anas 3) in which the wholo etring vi- 04 31 he gives their importance in one. he calls them eq notes. single vibration. ‘This offect can erenfta wadfa eargast Ami again easily be obtained by leaving the in commentary to sai 34, siring quite frea. ‘The note thas he states Renaerebqercifenarar- obtained i called the finda oat eye tones mivaus rao montal note. x x nies or pps partial tones whiel, pe canola i gg ale oe secon, Were ite te jectival compooad qualifying tho Swares fa tho Jonesian way or edo it foto method St Mallat who drvws oat the weaning siving accrato quota tions from works on Masi we can wal nlrstand Ut the Pent wakes Narada tine with amusamens the setion of the wind on the Into and moto the same plenomenn. (Nodal poioty Ventral segments and pyar paral tones ) wea Fodotn Biropean plysist fay wall obrergo. with all the preston of “his ig dase atlon ote tien of a Nan “Tho foregoing Iotarpratation of the Shloka hus Doon accepted and fonnd to conect Uy. Prof, VG. Vijapusiar 3, Prof. V. Rajiade 4.) Mr Vinoyakrao lies Annauaheb) Patwardhao, Sardar KO. Mehendule, Mr. addi Shas of Ripbinstone High School and other Sansks¥ Solas ‘it would bo intereaiog to note boro that while Hansonies were un- bscrved by the Baropesns as acaitted ly Blagoroa” ll ho Tater halt oF the inet contury, it vas etter of comsion “knowledge to the Hindoos at Teast ts far buck bathe Gur contury, Mga maken kpusiog referoneo to it in his Sishupaacvada whichis « poom merely of general interest, which fact proves GE Migha general reader of poetic arataro wero expeotod to | bo'faniliar with the phenomena,"European Scientists. Bat if the string be tonched in the middle, note which is double in. piteh, which prctical musicians eall the octave of the fundamental note, is obtained. ‘The string in. this case vibrates in two parts in such a woy that the point tonched remains at rest. This fixed point is called a node of the vibrating string and has been produced artificially by touching the string at the. point indicated. Sueeossively higher and higher notes ena be obtained by the string by tonching it at. hind, a foneth, & fifth of its length, ete. ete. -(Blaserna, Chapter I, pages 1-14). By the figares <_—stivenin the margin Bla- serun has shown the different CH GH — moles of vibration which string assumes in different cases when it vibrates asarwhole or into 2, 3, 4 ke. wuts. In the first case no node 3 formed, in the others we Ihave ‘one, two, three, &e. nodes. ‘The parts of the string betweon the Toes which contain thes points ‘of maximiam movements are called ventral segments, This > is what we have iu yfertatiert: or Magi, Authors on Aryan Music. are heard when the whole string resting on two fixed bridges is made to vibrate, He warns musi! cians to always test tho correct ness of. their notes, wherever possible, by referring them tothese ‘every hanrmonies. Europoun Scientisis. “TCHO—The Dest understood ofall the cases of reflection is -that which is called ECHO. —Blaserna, page 43. ‘The reflection of sound has been utilized in various ways. Nature ‘and art have combined to salve some problems not unknown ia history. The celebrated “ear of Dionysins” is well known it is ‘1 sort of hole excavated in the rocks near Syracuse where the least sonnd is transformed into a eatening roar. Similar pheno- ‘mena are often met. with under ‘the lerge arches of bridge, wia- Alnets, &e. ates, re 2, ae a 6. Sympathetic Resinance. searerreit: ovitest sare vai aa aan ayaa etigdt ga setts Sarah x x are Pa Exporimont shows that, when- ceovor a boy vibrates, other bodies placed near it, are able to enter into n state of vibration en this eoadition only that ench bodies shall be capable by themselves of producing the same note. Biaserna, Qh. I, p. 49. mam enige ar eis oat Ascording to Sanskrit. writorsEuropean Scientists. Authors on Argan Music. whatever or is our perception con fast g-aerdartaare amit fined between certain limits? 5 ore Bhan: Saar gerarat Twenty or twenty-five vib Senwifeere &e. ary aT tions just take place per second sI-&a strareanher afr er in oxder to produce appreciable note. The notes that are too low are badly heard and those tat are too high are unpleasant. Blaserna, pp. 66-07. The wellknown voice of a single singer embraces. aboat to eetaves. In the case of a woman a little inore. TAR yam et et ra rat arireirerar | wf meh gr, at fare fearereTe oH eam ae 8. Laws of the vibrations of strings and of artificially produced harmonics, Blaserna, pp. 71 (1) When the whole string Safwergefisfier a: = waa vibmtes in one vibration, it YPRrERT | sts wat Tet ag sives its lowest uote which a ae is called the fandamental note. Hf the whole string be touched in the middle with a finger, a higher uote is obtained, which practical mnsiciaus eal the octave of the findameatal note. (2). If the string” be divided by touching it with » ginger or a feather iuto two, three, four, &e. ports, higher and higher notes are obtained which form that which is called “ En-harmonie’? The whole vibrating length of fhe string resting on the two fised brides (x) gives a uote (qa). which in English is called the fondamental note, aifiten: wae: Fegan: | PITT TER thera TH: Reg Anote double of the fanda— mental is obtained, if the wire is halved.’ Cotes: eR Emma | i European Scientists. Authors on Aryan Music. ‘Tho notes of this harmonie se AtireearegeT tat tT wT ios are not notes taken at random. ron: ‘They are very agreeable to the Le RRC eet ctor fear in relation to the fandiment- : SLnote, and bave great import. STRUCT s: eetsaerarers fanco ag we shall coo in the sequel AT evar tghet sere saz in the theory of mnsieal instra~ He ST monte. anrerae tar ret Te: AP EH dar ieistarastar satay pet watt. ‘Tones increase in Pitch in the Seteigeret Rovenbetererrta: | Tatio of the length of the @aeateashr Pritwetgatertsad ae itio of the length of eee Grea. : anit wat yam: Taira: eres war strat SITET TTT ATE TET! (i. 6 837 HT 8 TH AR) ut it may be noticed that (in TeEStreeTeverPey seen set y ¢ Feks ieas earrarhy human voice) the larynx rises for rt SaRRTAMTATL BRAS (PTT) the production of bigh notes. Saat i diet 9. Simple ratios of consonant notes. “gent exer: Sunskcrit writers call notes which bear simple ratios to couch other armf@ ee nnd tho fol- lowing extracts will show the im- portance which has been given to these simple-ratio-bearing-notes (otherwise called eiar@ ee). by tho Aryan authoxs of music as a scienes, and by musical compo~ sore. Tt may bo establisheil as one of the fandimental principles of oar masic that the ear ean endure notes, be they simultancons oF successive, on this condition that they’ should bear. simple ratios to each other in respect of the numbor of their vibrations par ‘second, that is to say, that the ratio of the namber of vibrations ‘per eocond-of the notes. should be ‘expressed by low numbers. Blaserna. Chp. 5 sec.2. Safest sarah corvearet aR Fae, thEuropean Scientists. Blaserna divides consonant in- “tervals or simple ratios into 4 groups. 1 Unison oF octave ae dare [e . O, 7 oT Jeo 2 Perfectly consonant ere. 3 Consonant argardt. 4 Dissonant farét- ‘When tivo notes not exactly of ‘ho same pit and boaring intri- ‘eato ratios aro soundod together anew phonomenon is observed Known by the name of beats)’ ound is obtained of varying loud- nose, now strong and now feeble, ‘and very marked jerks or slocks are perceived. These shocks are the beats &e. be. If one of the two notes he lightly. altered unpleasant beats ‘are heant and they “spoil the ~Barmony.” Blaserna Chapt. Vy ‘See. 4, £ and 6. se pier 12 10. Beate. Authors on Aryan Misio. fra taatarterente ete P Prafe note ns defined by Sha ahinay f rangdeo ge v3 are v3 eter ate ferences | feret arr arar- ‘The werd sare may be trans Fett erteeramraesi: Fara ated by the English word ‘lave Hier ater = arated arate igure argys (qarar ) arerav tare fe ree, Caran toa oa, emTTTe: | Shirangdeo also in his Sangit Ratnakar ( gafacerrase ) defines consooant sounds and. divides ‘them into 4 eases (Chore ef means Zarmony. xt pleasure &e, &e.) 11, Resultant notes or difference notes. Blaserna in sec. 6 Chapter 5. Aftor deseribing the Veent (a “Whenever any two notes bear- stringed instrament of the time ing simple ratios are combined, of Nirada) the author of Ragavi Yerites these two notes a low bodha in Arya 19 and in its eom- pote is very clearly heard (i. ¢. mentary gives instructions as to ‘ion two notes making 200 and howgio tone the 4 strings on the . 250 vibrations per steoud are “said instrament. Founded, a third noto correspoud- he ot ing to 50 vibrations per second is Samet weaiR + Fever dat heand. ‘This namber is 4th part AE a geen water ea $f 200 ur the half of the. half), ‘This note is called, the resultant ordifference note. Its piteh or “If translated itis‘ strongth or the number of vibra- tions is eqoal to the diference Detiveen the two enmbined notes, Som wna See swgttar: exer are eet Frere seme arg sath wEmeTH Bcoru, The Aryan and” — Sanskrit authors also deseribo in similar terms the mmpleasint effect pro ncod on onr ear by the combina ‘follows: The first string should be 80 timed as to give tho fundamental ote, ThE second to: give its Sth, ‘atric ‘This third note is agrecable to fhe Bnd to give the ootave, and of ne intricate § the ear, becanso ib arises or is the ath to give Tf, the: foun satios, which notes go by the name. fF the result of two combined notes cs sf fn of the octave. Now — supposing ‘which bear simple ratios fo each tho fimdamental note gives 26 Ge eecisiat af neron dpe eee, bee Noone wa Piponantpect of snr one; et tbe ont following vibrational fPreifeere ewyeiafidt (having a difference of only one Shrutec ora quarter ora thinl of «note ) ‘afeat Farnam | Eupports lasing Yalu ofthe 4 notes emmbine. (emi re of.) “then several note, combined” Xow it wo — okwaevos Blsorna its otZesugh to + Sed ont the fafa wax x PS hae seat xeateaPrecrre area ine ates armera ratte ae | Praiect they are as, wear sere Thre: noted it the marginsl4 spean Scientist Authors on Arya tute The discovery of these resultant velar ns ah: lle of the Isth cuntary rally abtibote to rich violinist s vary sss ba e been strictly observ mi oth ly the -eelebnitel mich © Mirae (who is called the fither © mnsie) during the Vetie period und al hy femoris ‘omposers of subsequent. periods, x How the first two resultant notes form into the lower octave of the fantamontal note #4=19 how the Sid note vize of 32 vibra tonal value forms into lower rave of F's € = 32 and how 3 support the original 4 es and how they us. coutri- J to the harmony’of the whote instrament, may be nore exsily Jhcard an enjoyed Uh deseribod. fer ses: feomam of RTE: TEA: sar adhneursrar, aoregaa Geena dae complete ) 8. From ite ties stitution of wa. sompaxison of the fundamental laws al sound, adopted by modern scientists, ‘ ed by one old Sanskrit writers, it will be clear that fn coustracting their masfesl scale the Aryan authors proceeded on scientific Lines, How ftom these Tniws the Diatonie scale of geven notes, ot the ereaam was formulated may be noted below. It may be statel that the rale of perfect coneorl and of harmonies was strictly observed in the constmetion of the musical scale ‘An oxplnnation of tho ordinary terminology in Sanskrit musical works would help towards understanding tho enbject : Re=fixed ‘bridge; moveable fret=enftar; gqedare=unison or the relation and those obse 15 eiweon notes beating tho ratio of an octave; guadare: fect concord, ratio of 2 : 3 MawWe = imperfect concord, tio of 4:5 or 5 : 65 faare = dissomnce, They lay own that the rale of perfect concord should be observed rictly in forming musical scales. ‘Tho Leagths whieh wil be vou for the several notes in the Diatonis see blow, are those Ii the wite of the Diachosi, whose length, I take to be 95 inches; inch being facther —dividl into 20 subdivisions, 240 vibrations for the funda 1 two strings or wires, resting ‘When experiments are to bo give ont a note which may mental note at. lon tivo Bxed bridges, one at each enil. made, we have to tnne one string fo called tho fandamental note, The other sizing is to be tuned co that it may be in full unison with the frst, When the two Strings are thus ted, thon the moveable bridge is to be moved abot for prodncing the reqaired noies. “Its height must be such fas & leave no distance whatsoever betwoou the string and the bridge, ‘yob nob pressing the string upwarl. One of the strings is to be oft free to vibraté on its whole length, giving the ftmdamental hiote, while the different notes xeqairet are to be preduved uu the ‘other. On moving the bridge to the distance required for producing | a note, tho string isto be pressed very lightly to the eige of the | veidge with the Gngernail, so as uot to increase the tension | in the least, ‘Then the osact uote will be produced on sonnding the string, ‘To get the exact note on the given length, it is novessary that there shonld not be nuy disimrbing element such as increased tension caused by prossing the string’ downwanl to the bridge. ‘This deponds on the accuracy of the instrament, ‘How the positions and vibratious of the 7 notes of the Diatonic Seale and the octave, havo bven settled with mathematical precision 4s shown below.(3), To pitch of « note or ite vibrations are incorscly pro« ‘portional to the length of the wire. This rale is a legitimate inforonce from the above twornles, Rnle (1) permits us to take any length for the Fundamental Note (F.N.) and according” to Role (2) ifthe length is halved the pitch is doabled, and if the lougth is doubled the pitch or the namber of Rule (1) The whole length of § Ue wire betwen thes tuo fied bridges gices the Fundamental note a(e. Vibrations is halved. IPthorofore ged longth is taken tho piteb or tho number of vibratiods proineed will be . Lahn Ina trobled, Or by generalization? s nota produced be calle | Rule (4) ‘Che pitch varics inversely as the length and cies veraa. e < a, Gs) ab latin ‘Tho above fone rales may therefore be put iu the form 3 vibrations be 240. per- of simple Formula for ofavenionco of working and second. ready references. S-lesee |e |= at V,= Vibrations or piteh of the note on wire, inches a fa 36S ln & RED test eT Tong, w'=The vibrations or pitch of a1 (c:)the F.N, here Wo ese Pe |g) = (a) " 4) B fesele |g |a Rule (2) Die note produced on ‘ho longth of the wire of the F. N, here 2. = dbf the’ length is in =86 Inches=36", : Reload? fs |e ‘eal equal to, (c;) ‘Then : s |e ‘end in pitch or ibram Vax Lex trenesnen A) ok tiovis it 2 double the q Ba/eorlk |e fundamental note Harem neretnil BD 2 pe Aisa BLN. & |serm |g CRY Nyse Lemscsinni(@) Bae [-% | +3 ‘The note produced on tho ™ Ta. lee [5% Tength 18” is therefore. therefore if Vo Sirk | wore; itself, but one nek (d) £ ‘octave highor. Let this 3 “ Saee |§ |S note be oalled zo a @). soéle [8 [a to distingnish it fom e ‘ | pcre as a, ts FN thon ee reacted mea ECT. RR) oes ‘the vibrations of gy” or: sore: nae ant crest 4 elas e sre double i.e. See Catan. ) $ = Bo 2x 240 = 480 por: »_ fourth note) is produced at the Sue 2 esata mead Note and ite octave. ~1s 1 The note wis: therefore prodnced at Balt the Tenth ofan (es) and ar (e,)oeat } (36""+ 18") =} G4") 97", In other words the note of the wire 227" or 27” a ‘essen 2M0X ge= 860= Vibrations of # (@) iches. tt of the exeentive part of the wire will give ont tho 4th 3 note or (F)and ly Tate (4) formula (B) the piteh or the Vibrations of ¢(G)are ot vibrations of (F) are equal to 320, of ite, oF PLN, ‘The formula (Bis — a! xpi Here «= 20,1 = 9061, = 27 38 240 x 37 = 820 = Vibrations of And formala (0) is :— or the longth of ¢ is 3 of itsar, (c, )or F. N. ‘These facts may be noted down under Rule (8) below: — Tate (8) The length af he mine ofa (4) ov th fifth nei § af thet or the lougth of wis j of the length of tho F. N. aut ofay's (ex) ive aut its vibrations or piteh is 3 of tha tho vibratious of q ure Sof the F,N, aud it may be; of (or). laid dow — &(D) and w (A). Mule (6) Thst he length of the wire of «(°) or tha teh nala te fe eeegean deen: ener ener ara 4} of that of the Fanrtomcutat Note und the, eibrations of 1 Levee a hemo x 5 i actace, ery (Cy) roth @(G) and 4 CE) sre $ of Ms sitions af tha Pantamentad |RHIe) Ta ie er y se eee Note, (2, )- | ae tha en(ia) sithes (1) end (@) rile es TG). the incerted intercal, form imperfect concorde. . Romresatorral dascearreet | Catteoitona. ) ‘This rale is very important and is made uso of in finding out Rulo( 7) The 7th or (oth) note is produceit on 4 or 4 of |the lengths and vibeations of the other notes (1D), aT (1B), Ke. oe. tnfotedenyth ofthe wires ‘Tho former note ia ane oetace | ovorting to Reale (1) any length may b2 said 10 give the Higher than. Inter. th note fvom it, ‘This | tandamental note ancl its ara will be the The length of the wire is 86", Therefore a length of | qeyar or q will forma perfoet conconls with it.* ‘This gives ns the 12 or 21° will give the Afth note q (C4). Bai: we want | following consonant notes, ; veqt Ay or" (F the length between IS" and 38'—-the two Timits of BN a Os Conmpenl ste SAYS “e the octave, ‘Therofbre tho length 24” is that which we ao Th require aud it will give ont the note ¢(G). 2 ae Let us apply the formals (B) and (C) to the case of ~ ie 20, (4). be fi, Dy me % w G2 ord (i io not a pertest pancham with (A); nor Substitute tho values uv = 240, ! xt 36 and), = 24 © As I proceed to show, rz (Hs) is not a perfect pancho with « (A) fs na(H) with ( @)-a ae 40. 640 are the vibrations of &Y, or & (D) in the 2nd ae ‘Thorofore the vibrations of ff in the first octave are=3 x 540 Bb ae ‘Vide Rule (2). evento (O}5 Ue 240,796 and T, Formula (C is— Ta ae Stage Honco the length of = 284 anid ite piteh=300. [The ar( E) obtained by the foregoing process has 3033. vibra 1 = Ox a dons and bears with the F, Note a complicated ratio viz, 81 : 64. The Rule (10) The length of xt (D) is 82 inckes and its vibrations arggt (2) obtained as the fifth harmonic when reduced by two octaves 210 or the length is land vibrations $ u. ins 300 Vibrations wnt bears with the F, Note the simple ratio of : 4(A) $5 14; and it sonnds more consonant with it, It is clearly heard ou tho ‘i jase string ( the fourth, giving ar or F. Note) of the Vina. Rile (11) The length of ¢ is 32”. If we take this as the startingSynékeit writers have a‘opted this in prefaranes to the other. They note, then its gaa in y. Therefore the lengthof w is 3 oftested their notes by harmonics ; the,anthor of graf@ary clearly lays BSL} by Rule (8) and ite oibrationsare } of 270=405.4 down : Wenaerseyerctfemnrarete | Te ee § ret eH Se.) ty sex js motto w= 240, = V,= 270, ae have a (EB) and fr (B). fx (B). The length of y (A) is 21% and its vibrations are 405g) ~ i ey ‘ Tet as take yas the fundamental note ( Rule 1); theagRule (18) Ixy (B) is taken as the foodamontal note, thon f® (B) ‘a? (I) or myarcin Bnd octave becomes its dwn or the Sti ‘pocomes its qaqa the fifth in the same ootave, note (Rule 9). ‘Therefore its length is = 2 x 21} and] 1, 300 § = 450 = the vibrations of F byRule (8); vibrations = 3 x 405; but these are for a. ©. and the length is $x Bt=ex Yryysld y= 195 according to Rule @) The length of wis = 2x3 x 21h wi The vibrations of = 450 “Saind the length of R= 19}. cand the cébrations of a 4 Notes and Summary. : # ok _ | fr (B). er ich at ba The lengt.of ar is 28% and its vibiations 3038 (Rule 12 » two take wus the Fundamental note; then # beo2% Rnle t expresses inthe fem of fon the above rules, ‘he forms whieh arden aro given below for th convenience of reuty Vex leat wue(A))] HME rane You (8) where u= Vil are rospectively 240 and 36° ‘The rules are wot discoveries of new tn the theory of Music, Bat they int th Sanskrit weiters on Blusie several contr : i soveral centuries ago, 1 lle @) ates tho tngth of mM ed by crafting. Tuto (6) notes down the lengt i valu of (Fas worked oy fom the rte, Se St ean 4, ule (7) determines thé position of g (6), the “Sth uote, j lonth ont clr al is vita Rule (8) noes do w longth aud vibrations of (6) the fs iat gonerl in any tie ations of (G) the fifth note in general in. any ‘he postions, length and vibm we (.), the 4 principal notes which onder, ar thas marked down, wor rains to find out the same of the remaining w (A) and f& (B). This is done by the rule hota g (GF) which may he called the 1 3.” Rule (8) describes in ffil the how it may be nsed in requir 0 be knowea of the 6, Teles (10) anid-(11) randy nay bo toand from perfect concord woo Pn 324 22) show hom the Tengts of CB) an) ‘the eee perfect concord. diltertay fener ie Clana 8. The lengths and vib itional va ete :: brat Ines of all the notes in an eae fiw found ont by means’ of ales distinctly lait down uskrit works ceca eae rorks on Hinda Music such as erate, eofe-anitare mths in the science of tious of ey (¢,), (EP, (Gand have consouance of the fi ke out and settled, Tt now notes vie. & (D), a (H), of wanftey of the Sth alo of perteet concord, 1 rule of perfect concont ant finding. out. satisfactorily every. thins remaining 4 notes—&, at, and fe show how the lengths and vibrations of Hlose of ¢ (G) Ty applying the mile of ormulae the resulta of > derived from formula A} ‘Vibrations of the lenge ln rations of length 2 et Drove tha these traths wore known to (B) the 4th note as prescribe 23 9. L give below Table A, the Diatonie Major Scale #arere are wing the number of Shrctoes assiguet to each notet the suber .of vibrations, lengths of wire of the Diachorl, je number. of Mr. Ellis cents,” the wiasical intervals botween any 0 conseentive notes of the sealo, the ratios of each note with the \lamental note, and the Englis names of the intervals aud te 10, Now on lookiug at this table it will be sean that there are free kinds of mnsical intervals viz, 8:2, 9:10 and 18:16, In ye sca the interval $:0 occnrs three times, 10 occurs twice and b:16 occurs twice. ‘The seven intervals form two trichords + the tervals between wand f% fe andy, andar and ® forming the trichord 5 while those between q and y, wand @, and f@ and a, ming the sceond trichont. Bach interval of the first trichord exactly lies with the corresponding interval of the second tricbonl, ‘The terval betweon w and ¢ (8:8) stands asa neutral zone between the Iso trichomts, It is interesting to sev that those ‘ntorvals are evenly tribntod. The interval between aul ft (Se) which is the gost, scones hetwwacn aq and of the secoud trichonl. The smaller terval betiveon fr and (1:10) of tho first teichonl also Lies between [cand @ of the secomt: tsichord, ‘The smatlust interval 15:16, which fos betweon ay and = also appears between 1% and af (octave ) of the ‘The total of Mr, EIliy’ eonts for these intervals lecout tsichont, is i200. 11. Similarly we might note with interest, the Diatonie Minor Neale Gains ere area) shown in Table B given below. It consists ot fight notes including the uppor Uetave, like the Major Seale ai {Th asigniyent of Rivas in Cofonm 2% to tne ailferent notes is ase om the flowing Ary (sat) in een (FEF 2. #9): sweet staat seead wt reg eration: deel, sarge Ty, Ae atdicer: gat frame: ghee 8 ar tho explanation of the word gy; I would deeyy the aitention of the Feador to Paregrapis 17 and 20, © By dividing the interval btween the fundamental note of value one (1) ond iy setave of double the value he. two. (2), into 1200 cents, according Orie incthod, Mey Elis. lus devised « systent for measuring the various Stier is egstem, into the stale cf Wich wo nevi not go a peesenty Towed for tenting the scales of the world, Jtswould be gratifying to earn a the MindurMlsieal ovale sau tis est of cents adil“24 cara Tt will be seen that in place of maj second af hus split ip into two suiller ones of 92 and 112 major thitd ef. v., major sixth ah. and ‘imajor seventh setively, making a total of 204 cents. ‘The same ratio sre intotlld four corresponding flat notes or ahem. ere in introdnent in the second half of the ecule botweon Tew inating to uote that tho soven musical intarvale By And the roulls are similar, In this nmaanor wo samo as those of the inajor Scale, int are diferently diatribaf@mOd ; ing ee sonent) in the Soalao afb the rats of each not with the fandarental ad er Sd be omserpeing et oo larger The total OF eouts assigned to thesd Be eee ye inetdoden ete resem eat oes (cre) ad modalts Cent )wiggamaral of 9+ 20. a8. eto by the atm. of 288 are sung ti the notes of this Diatonle ‘Minor Scale gables one of 15: 10, me ae ahem iawenn 12. Ttwill bo soon from the Dittonic Iifyjor Seale ( Table Foose a era i ikcenber enti Gal thatthe sitallost intorval is 15:16 that betweon srand, and rand fa ft aud A *- becomas 15 : od: Band bas 70 conte, These and this ihterval is usd ia. forming our Chromatic Seale of tal baben a and. r- becomes 24 ia ehldwas, Hesraakibet notes. Perhaps hore a question nity be asked as to why tf Seep intorvals: mele ap the 182 cents: wt sel ees ‘particulat intorval of 15:16 is usd in formulating the chrom the second larger interval of 9: 1). * Similar iy we bas we scale of twelve notes. ‘Fo this quéstion the simple. answer ish dcad a (. between #. . aud dr. f_ with 43% vibrations a follows. When we look at the séven musical “intervals of ratio of 15:10 with 112 cents. ‘The interval between Diatonie, Major Seale we find that out of those seven, five and fF. ia 2:25 with 70 conts. Ths we have in place Targo dutervals and two aro the #tallest viz, thoso of 154 seven notes of the Dintonic Seale, or eight ineluding tho-upper Dotweetl arand w, aud f@ and ef. Sauskcit writers havo tem “tho following twelve notes of the Chromatic Seale the tutiwiat Scale as“ a lnddor"—Sreraaeqer (3 Tet2h+lasintie +2y + 2+ lea waren 4, Ww 2a ). Thoy avo fotmet oul ur this, Dlatonie My Seale of soven notes a, Chromitic Scale of twolve notes, note called. =. This note ia the 6th harmonic of x ond putting four moro smaller noted or stops, ‘They have also styl forms argerg with it. and ¢ aro kept fixed and rchange- %, the fourth note or step of thé Diatonic Scale, as ara 3 t ete araie alia: R ACA me cde] How the sitiallest stop of tho musiéul laddor, Now it is evident Bacoreersieitewcsia | vie a, RF fn introducing. minor notes tho smaller ratios or intervals have to bo ntilized, Thus we get a mothod for dev Seale by introlneing minor notes, 25 lo al ft sal ones making in al lv 2 show that theae intervals are jus 13, Proceeding thus, while forming our Chromatic Sale oftwelgeamervals for 12 notes. In onder to show that _ iin s. notes, the smallest intgrval 16:16 is introduced batween tho ee i ie i notes of the Dintonic Scale having larger intervals viz, 8:9 and peace eaetah, ame. “Tho s-total. oP , ‘The interval between e and #. fe. 18 8: 9, ‘This is tho biggest st An interval of 15:16 is introduced botweon thesg two notac Tha obtained a thinl note called ait. f. with 256 vibrations, ‘of 240 vibrations. Now e stands to ay fe. and a. . stands to aft. in tho ratio of 12% ‘Mr, Bilis’ conts to thse: intervals, we get for. 18:16, “and for 128°: 135,02 couts, ‘The larger interval ofTABLE A. ota ers ere ae (Mi vey oes ote eee). In 1] 2] 3 | 4 5 é aw lei ‘iran =| | ste, a i oe | as Nate. | ) | zl Inches-inoe tt eepreee a!) pa [= | se . 3) eerorD 970 8:0 * se 2nd: Sth Tar eS | ¥) 9-10) atinor 2nd t82) °° MOI | ap | ature or E 00} | i 4: 5 [Just Major aea;senl | 15 : 16 [DiatonieSemitone! 112 Harmonie “396 {28-16 lines 4) 9) mar or P azo! | 8: 4 [Jose and, Pythago | 8} perece $859 heajortna .., 204 wean four | 408] 27 a oe | ot are 2 ‘s 2: 3 | Just and Pyth Fifth! itis] geo, lc pesesnt osu) 2° sil no 7138) rear | and] 9°37 er2ua 26] ERs] sap - || | ggg h | 2228 bat nentin fue) LBS hoe, 104 te §|22) watore sso) ba 2 locave 1200, 18 i 1200) eae) - TRBLE B. ines eect ere-atam ( 3005 a MEA ss EIR ) Hest TAT. Indian Diatonfo Minor Seale of 5 flat notes ‘or 8 notes including the Fundamental, noto the Fifth and Octave. 1 a | 3 |o4 | 6 7 8 [9 | 31 wn i m [Tato of | 2 | Tiieieg a Z & | each note & | tens s % Vibra, Musical 8B | ‘with the | bmn: 5 wirerequired) | Some ots |W Meat) aeons 2 |Gee sper . # _| — i | sa" | B eee fe om. : iatonic semitone! 112 ™ sexrorDiat| 256 15:10, Dintons 0 aE ee mle 8:9 | Major 2nd, | 204) { Minor sea | sxe 3 |at.atareor Ba, | 268 sso | saatue See = is 19 | Major tua, | 204! | ss 2:3 Tust fifth. 702 | 5 | mreeeora, | 200 | | 15210 | Dita so | | ust minor 0b, at. Naa or At ml, bata oe ist Minor 71 7 | at. rave orB fl, 432 | ‘Just Minor 7th. prove 20-0 fe Minor 20a, | 188 Jameonetctnon | | Y. —| ve. {1200 18—0 8 | argst or 0”. | ae Octa peo, |Ratio ot 25 | lately 236 | tic wnt] 132 204 ae i pe | 0. 1200 Ying meet | cente| “withthe | Ts mame, |i }_length of bara ots tal Note. if ch Note, — ns] tel aceome| wel ge _ 32-0 2: od ages name a0) 2 a 182] 5 © | just minora | 3 } ae sf 36) nite flee j| 2. fame | ao em | in| 2S 22048 bape 0 —_ uO 4: a femmne =| a m0 25 lSnsscen| id Ped oc Ae a | 8] 20-0 Gee | sors 8:45 | ana, 194 12 20] Ooms. 1088} jg.. Wise wa “asad terval iy Mo. | xind of Shrutees. | Name of notes, |yitratonal “Fay zie em 3 ca stadt | lo) eer, wm |. wore, (> freed wom. | oat Dee : 4 24:25 | Soattsemitone, | 79 1G) ‘aun ate. DE, ’ a 15:16 | Ditonico Jot | are | 9316 a + {@) (citar ag. aoe, ra 9:10 | Minor second. | ise |. seg Ame Ds | | 208 | 204 | a2-0 aad Be | : Z 97:92 | py steer tued:| a4 30-7} ¢ perce, ora at sf. Ea, 2} | 4:5 j So Mee saat an | 2-16 (@) tet, ae. Bet Ew, [o> pret, meme, | orate FHL, | 18.21 Autre, 08.| ary | ane (10) feet, a an F, 04) 64281 Pye ater Tuna, 40s | 28-0 5s | - a] se | suuaneomleaae : : oat el gene Va a stv [estate| aed oe (20 coer, oe te a anal . i. t Fas, “4 25226 | Acute dimi, Fitih, 692 0 Uae orem. | a. nef | 2° : Sones | ca La] asa: | meet a acs steer | a Pas ames to. cash on piluulos, indicating the petcaiar emution, (or cq ) ean ‘ ee Signs Seca ata oy a a id Se eae P twenty-two. notes, for atverd moter cae " y eas ‘alte aencagiegire Elsie ccktece™ frbene stool ede et nfo ff nr he ams epee ro Kandhaci as suog by Rahimatkhan and Bhayasaleb Joshi ; the Dagaei and the Bo Ps by Professor Alladhis und @, Of the several notes os well asthe notes thezealves used i eeveral Mode and4 ‘Watalte terval between Rule 2485 | . 1) sass | 24:25 80:81 248 : 250 u Small gmitone, Great Disa, Soll sesitone, (Comma of Didymes| Pyth, Liroma, 80:61 [Comms of Didyuvs Sina Lima, avbich fs Sf shove ot, sito 281} vibe); at Stem, of lly acceptad by almost all tue system of nd There “Kalhapar Derber) and gover Fi 7 1/8 vibrations which is minor isd of sf. FR, aud it bus is vysems fa vogue, cp pt tha Shrutows, tow 7 ee i: ae cach ntorval PePaumnest 1s name, 223° | Just Wists Sd Has ast Minog 6th, 8:6. | Just Major oth, 904] 16:27 | Pyth, Major 6th: ‘27 Har, ‘Tost dim 7th, Acete Minor 7th, 1088 110 Jost Major Th, Pyth, Major 7, + correspoading a. #9, the Gobuttc, ns wag! by Adal Renee” ‘ele several advocstch dite” ux to the coubldating is ‘8 an interval Iyi cal vo fore * this’ interval ‘those suitable initarynl ‘From this table it will be seen th having 70 cents, is put (256 vib.), another note ca ratio of 24:25 and ha TAH Au assienot uoten which ae on of & andnotot ef vide af Tah30 9. Now when we look at the intervals newly vbiained in our thromatic Seale of twelve notes (Table), we find that another interval smaller thon 15 : 16 which we get in the Dintonic Scale, pes in its appearance twice, and that iy 24:25. Tk must nob be Joverlooked, becanse it is an interval Lying between two consecutive notes of the musieal seale viz. &f- ar- an wf. ar. which form part of harmonics. Therefore this interval has been considered as an lof evolving a still finer seale, ‘The sime process which has een br the Chromatic. seule of twelve notes, has been followed in developing the scale af twenty-two notes or mf@ scale as | Javined in’ crrraarz. For purposes of easy referenes, Table D of the twenty-two Shrutee scale is given below, with themasical intervals, Hengths of wire of the Dizchon, Mr. lis’ eonts nnmber of Shratoos for ‘degrees? (as called by Mr. Fis}, and names of the note ete. 10, From this table it will bo seen that when the smaller inter: val of 24: 25 having 70-conts, is put in botwean w= (240 vib.) 5 and having 70 cents makes ite ? a thin Fe (2665 vib.) appears between, av. anil Af. fe. Sianilarly two siarf@ (consonant) notesare introduced in the second halt of the scale vie. at. ait-g anda. a. It is (0 be clearly noted here that these notes sf. ar, at. FR and wf, in tho first half of the scale, aud st. aft. , ait, and - of in the second Poole are called by etary unthor of craftier as Ppa eTeTS, and are frecognised by him. [ Vite. ff Table in Mr. Baubatti's areeistesine, Pot TIL, Page 16.] In the samo way sf. ait. a and w. @r. ar and the rresponding st. at. A and a. A. Fr have been introdneed newly itis alrondy stated that Like =, q is also to bo kept unchanged ‘Pras wid the two are to firm the buck-bone of the scale. Tho eval between mand which is tho largest vie. 8:9, canuot therefore noglected. ‘Therefore the Aryan authors divided the same io four partsand assigned notes whieh are considered as Fats or Fnodifiations of = and not ofq [vide»gf@ Table in Mr. Bankatti’s book. ] hese’ notes ary ot. aT, alt= ms Ar. wy and am. Ate having th nearvals of 24:25, 128:135, aud 125:128 respectively, with 70, 92, cents respectively, making ap a total of 204 cents. whicha are ppearanea. {nthe sme ¥ \ beassignod to the higher intoryal of 8:9 lying between w and this manuor we have gotlat4f+4at4n +1 g+4uy et ( appor ), making up a total of 28 notes including tho) ‘Those results are given in the following TableD. 11. All the lengths given for the notes in those tal those of tho wiro of tho Dinchord and they must not be 0 with lengths of strings of playing instruments, such as Satar etc. The difference, bobweon the instrament sealo like a Diachont and a playing instrament con this, that in the plying instrament the height of thestrings oF above tho frets nocessarily varies from one to five) metres, as has been shown by Mr. Bilis in his exarpil of several ors and the -aftrfar of Tanjore sont to Cap. Day. Unless we. leave some margin ; for hei instrumental playor cannot move the fingers from the frots freely and with ease ; and he cannot produce incroased t in onder to havo difforont shades, and Her (monds ) (ghasits ) roqnired for different modes (rar) and modaléts Bat it is to be obsorved that when the player puts press the string when beinging it down to the fret, the incrmasod dno to the pressure snust per force increaso the pitch. Bi pring an instrament of scale, which is in othor words a wo must not leave any height whatsoever between the [i string and tho moving bridgo. Now when we have pro above scale, we are to note déwn the different. spoaking 1 tho different notes, on the wire of the , iach ‘an instrament, player wishes to set the frets to tho i to a particular scale, he must keep this Diachord by jf and taking into -accomt the tension caused by the hhis finger on tho string, he must see whother ‘on the playing instrument tallies exactly with that g dy tho Diachori. He mmst also while practising d jour or voice to. the different notes. of tbo scale. prodacg Diachond, and, not the playing instrument 5. bocanse ikely to, misgnide him. . $o also. while producing. d rr modified notes, by mends (#z) on the same fret-on “instruments, he:mnst not deflect the string indiscximinatal ‘it only to euch an extent as wil ‘the quired, which will tally’necurately with that: given ont in the” ‘This can be attained only by longand patient stadys Even e to train their ears and fingers to get’ the exact notes se, The Dinchord is the exact standart of measurement other words ds us a means to measure mmnsical notes, just as we have qin gauge, the thermometer, the barometer etc, But the unless it is played upon by a specialist, is not by which the musical scale can be accnrately ganged, kill of the player must be taken into nesonnt. ‘The Sans- hors clearly intended this, as they fistinelly state the exact of the leigth of the wire, for produeing the differeut notes “3, andm. Thoy do not obviously intond that there should height whatsoever between the speaking etring and the fret. Hd this beon the ese, then the laws Iaid down by given above) would have’ given incorrect results: ‘They {{ the,construction of the musieal scale. After having thus obtained these scales, let us now consider problem. Among ‘notable recent writers who have ted to solve the question, may be mentioned Mr. Bhavan- ngale, Mr. Balawant Trimbak Sahssrabaddhe, and Rojo ‘Mohun Tagore. Twill consider the methods of Messrs. and Sahasraboddhe, first ; and then examine the Rajo’s fl. ‘They have taken it for granted that like vibration 'otween a fandamental note and its octave and that 22 Sbrutis 2 susivisions of equal value. This is not the ease. A Shruteo isa sub-division ofa note, may bo quarter or a thinl of a ition it occupies in the interval length of the executive hasrabuddhe. <1?)oe 33 84 monochord” says Mz. Sabasrabuddhe “le taken and a spice equal to] It is well-known, that notes increase in pitch in tho invetseratio 44 wits be measured and the bridge shifted to this point, the string pf the length of the wire. Aud applying this law, we easily’ determine when struck will yield w note ; if We start with this note as the tonie fhe soveral lengths of the executive part of the wiro which, when ‘or Keynote and run thronh the yesut by shifting the bridge ( the founded, will give fhe 7 notes of both the Shrati Seale (Mr. Sabusra- Sanskrit writers affirm ) the following fuets will be observed. Si buddhe’s) and the exact Scale. These lengths aro s— will bo produced at the distance of 44, Riat 40, Ga at 37, Ma at 95, Pa at 31, Dha at 27, Niat 24 and Si-again at 22, but the Inter Si) Sliratoc seule vs explained by aes Hinde will be twice as intense as the former.” Sak aca: seat tan cra gale TATE | Frerar cer: wanted iP: at aha sweat arg sexi gat vaiteeare areeliteeinPiedig 8 eget Aa: 129 Ih sein: eit Peerorera: re Rt . ante. Me. Sabasrabvuldie has based the above theory on the wrons interpretation aud application of Aryas 16 6 17 an tho latter pare of Arya 21 of srafaitne quoted above. CDEFRGABE 3, 3%, 96, 409, 45, 48. Si Ri Ge Dha Ni Sé Ur. Sabastabulidbe’— Sh ae’ And now when actual comparison is made by finding the ratios of the faudamental note with each of the successive 7 notes a the Shrutee seale thus wrougly demonstrated, we find none of the| notes (except the octaye) bears those simple ratios which om Ilindn Seale as well as the Buropean exact scale bear. ‘This is quite] yilain from the following comparative table. Shruti scale as explained Dy Br. Sabasrabuadl Bxact Hind Selle ‘the Hinde Exact | bear simple sutios with the faudamental note. MG, Sabasrabaddhe. 2 whole length Soule, (Table A) 1e whole length Tt will bo fond that each one of the intermediate notes of ‘the [Shrntae Seale ns oxplained above bears a complicated ani rather igher ratio with the fanlameutal note and bhat none of the Tengtbs shown on the loft sido sives ont uotes which are obtained in the eaeaqaa (lable A) and which we aedually sing und play. But. the fact fs otherwise, Une artistes actually sing and play uotes which 14, Me, Chitina Swami Mudliae #4, of Sonthern India, wrote & large volume entitled Oriental Musie,” nt has left untouched, the question of fas or Shrntues as beings a very complicated and intri- cate ono, How the labours of Messrs. Pingale and Sabnsra- Daildhe, wore not productive of successful solution, I bave alrealy shown above, Maja Surendra Mohan Tagore also attempted to otermine the position of the twenty-two Shratees, He divided the whole speaking length of the wire into two halves, tho whole Tength giving the or fundamental note and tho half giving the a’, the etave s both these notes aro correct, Again he divided the first half into two equal parts, each being ono-fonrth of the whole length "Tho first quarter (of the wire ) he subdivided into nine equal parts calling cach part a Shruteo. At the end of the ninth pact is sound ed a note (at } of the wire) which is correct, In tho west quarteraShrutee, Thns in all he got the twenty-two Shratees. Let’ ne ow see whother according to the Raja's apportionment we get the ‘other notes correctly. Now there are three Shrutoos for sf. fe. the Diatonic Major Seale, ( Vide. umf@ite sat 2° and 33). Accord. ing to Raja Surendra Mohan Tagore’s division, three Shratees would | ‘mean three parts outof the nine equal parts in the first quarter of the whole speaking length of the wire; the length of these three “parts ‘would come to 4 part of the whole wire (+ wire divided into 9 parts, ach part = $xJ=ze5 three such parts would mean=,),x 3a) part of the whole length). Thus the #. rt. will be produced, on the 2} part of the whole wire, necording to Raja Surendra Mahan Tagore’s methods i. 0. af. FR. will bo produced on a length of 33 (=¥x{}=83) inches. But as wo havo seen, the musical interval between qr and af. ft. is 8:95 the pitch of af. is} of ar; 80 wf wo inverse this ratio of pituh, we get the length required. [36x $=92 inches ]. Thus we get 32 inches as the length for at. fe Consequently Raja Surendra Bohan Tagore's a. fe. is flatter or ayer than the just Major Second which we actually sing tho intorval aljo is smaller than the correct one. Similarly incorrect results might be obtained for the othor notes, by following Raja Surendra Moban Tagore’s method. 15. I now proceed to show how Cup. Day and Mr. A. J. Bllis, in their attempts to find out the positions of the twenty-two Shrateos, ‘wero uot successful, perhaps misguided, partly by the. erroneous i formation of recent publications and partly by the assumption that tho Hindu writers havo followed or are inclined to follow the equal ‘temperament’ system of Enrope in developing their Chromiatic Sealos, ‘The lines on which Mr, Bis tried to solve the question of the Shratees may be seen from the following extract from his paper read before the Royal Society of Arts in 1885, Cup. Day aléo was similarly misled, ‘and he follows Mr. Ellis’ division, Mz, Ellis follows the Tinos sug gested by Raja Surendra Mohan ‘Tagore, whose methods I have already referred to, In his paper Mr. Ellis says “Now we do not know precisely what a. degree is. And hence any representation of these differences with exactness is impossible. But wo may obtain a tolerably approximate notion thus: suppose the fixod notos: to have been those already described in tho old C. oe i 36 cale, so that CtoD, Fo G, and G to A, havo each 204 cents, and a dogree of such an interval shoal be a quarter of that amount, or SL ‘cents. ‘The interval D to E, or A to B, has only 182 cents, and bat ‘ogly 8 degrees, so that each degree has 603 cents. Finally, the in- terval BtoB, or B to C, has 112 cents, and only 2 dogroos, honce cone of these degroes has 56 cents. "The modern Bengali di over the difficulty thus: The C siring is divided in half, giving the | Octave ; the half nearest the matis again halved giving the fourth, F. The part between the unt and Fis divided into 9 equal parts, each giving a degree ; and the other part from F to the Octave, is divided into 13 equal parts, each giving a degree. From these indi- cations it is possible to ealenlate the value of each degroe and assign the notes. In the following table I give the nnm ber of degrees and tho calenlation of their value on both plans, old and new, with tho | names of the 19 Indion notes assuming that pitch varies inversely a8 the length of the string as shown by the position of Fan the and that any errors thus arising have heen corrected by car ion gets Indian Chromatic Seales, TE Pa cc ee ea © pm be em O° BL 102 15a 20 BK ee ee 9 1 fia, 18 4 Bebo FB ‘= Reh Fah Miz 498549000102 435498 BAB BBD. EBT 8G wt ees 90 Ag A Bh BB 0 8359069664 TORT 1088 Tei sil 96H N07 1195, ‘The only values agreeing in each are C, D, F, while now Ff is the just Minor ‘Third, more nccident. The 9 degrees from © to ¥ vary from 49 to 68 cents and thon there is a sudden break, after which the 13 degrees from F to the Octave vary from 45 to 05 cents. ‘This is the fiat intelligible presentment of the Indiaxtsoale which I have heon-ablo to effect, It will be seen that C,DA,D,EA,E,F,Fsh, G,Afl, A, Bi, B ‘re represented pretty well by qnr equally tempered notes, but that the 7 intermediats| notes Dil J0Al, Hsh, could only, be37 38 tempered on the Quarter-tone system nsed in Syria, Hence, in the | Shruti evs anid not where it begins. According to the rule usual transcription, these 7 notes are indentified with some of the | given in ermf#irz of tuning strings and: placing the twenty- thors, possibly Dit with Da (not with C), Dill with Fl (not with | two frets, each indicating a Shrutee, the first frot or Shruti D), Beh with F (as usual ), Psshi with Fsh (not with G), AM with | or “degree? is to be placed after the-sero (0) or the fixed Afl (not with G), Bat with BA (not with A), and Bsh with Cas | bride on which tho whole length of the wire or the vibrating ‘sual ), ‘These comparisons necessarily injare the original character | length rests, and when sounded gives the fundamental note. Accord- of the music, and give it 2 harmonisable appearaneo which is entire- | ingly the correct and proper way of assigning or marking ehratees is ly foreign to Indian music,” that noted in the able D; and is different from that adopted by Mr. 16. Bue oar metho of diviting a whole tone cither of 201 or | BUS. By this process, the figure (0) comes on ey or (the fint 182 oF 112 cents into four, three or two tones as the caso muy | Si7uteo on the svend note, and the twenty-second Sheutee exactly | comes on the octave a’, giving 120u cents, And according to Mr. be, is not to make equal divisions, as hins beon supposed and done by pe “I ‘ can Sopposad and done BY | nig, the twenty-second Shraoe comes on q. #. f. or B sharp, ‘Mr. Ellis ; but the divisions are to be made in accordance with the . intervals lying between two consventive notes, For iustance the inter- Ying 1135 cents only. . al bntveon a and aff the fit and soeond note of onr Mfr Dia | 15+ Similarly Br. iis made another experiment. He heard tonie Sealo is Si with 204 conte, Now suppose we want to | Rajt Rom Pal Singh playing on his ware (Satar)—a playing instra- divide this greater interval into. two smaller ones or tones. ment, at fourdiiforent settings. With the aid ofa tuning fork, and ‘Then we introduce between g and af. fa third note called =p. sisted by Br. Hipkins, anoted musician, lie observed and tool for D flat, which bears to the fimdamontal nota a the ratio of | down conts for'each note of the Diatonie Seale at each setting and Decanse this same ratio or musieal interval already lies letweew. ele | 20" the following results, third and foneth note stand a, or between the soventh and eighth cales sot by Raja Ram Pal Singh. note, f@ aud a, of our Major Diatonie Seale, ‘This done, the three rit aiid Fonrth ie notes a. af. Fe. aed A. fe. will have the following two musical Otc, toto, 0 wont 1230. intervals lying between them. [fap has 240 vibrations iu a second ath 0 a7 1071181 of time, af. f&- has tious, the interval being 8: 9. When Nes! ssn 498 10701300 ait. fe. with 255 vibrations is intrxtneat between the two notes, then Se r boe the three notes ar (240 vib.) a. (250) and af. FR. (270 vib.) sie stand to one auotber in the ratio of 15; 16, an 128 + 185; baving ye ata ee 112 anil 92 couts respeetively, in all making up 204 cents, Bat age Ae ae! oe this has not been done by Mr. Ellis. He has divided the whole tone of 204 cents into fonr equal parts and has assigned 51 counts tu each 11 at 30171198 part, This is evidently incorrect and these notes obtained by oyual a6 10111200 divisions are not actually sung in practice, Similarly are obtained DA BEL Bile wrong results for other notes also, s 9 405 sa Toz TAY 1081080 17, Aghin” im assigning each’ subdivision to a Shratee or 99 Bit 498685 TAT 10701200 “degreo” of the twouty-two cycle, a wrong start is generally male by -0 Ph H F @ af B, 6 some writers ; beeanse the first Shratee or degree (thong it hegins | ‘These rosults when compared with the cents, put in my Diatonie from the (0) on which w is marked) is to be marked where the first ) Major table will show that the cents obtained by Mir, Ellis bave not | |33. setting do not tally with those of the socond setting, nor those of the third setting with those of the fourth setting. yen the cents obsorved for the Octavo (@) differ for all the four settings. Bat there-is no ‘woniler that such varying results were obtained. Bocavse Mr. Tis, ‘himself says that the sotting of the frets was a ‘pare matter of ear and memory”; and “the frets wore moved somewhat hastily and porhaps were not arranged with the accaraoy that world. have boon attained by 2 professional musician.” 19, Lmay state in brief that attompts were made'in three direo- tions or ways to solve the question of Sbrutees. Messrs. Pingalo and Salasrabuddhe among, others tried to solve the question by divid- jug the whole speaking length of the wine into forty-four (14) oqual fats, and thon trying to assign the positions of the twenty-two Shrutees. The faults of their anethod have been explained above. Raja Snrondrs Mobnn Tagore divided the string into two equal parts, which again were subdivided into equal parts, each containing, fh varying number of equal units which he designated as the Shratees have already shown the érroneonsness of this method, Mr, A. J. jolly divided each interval into as many equal: parts we Uheze wore “Shrnteos e. y. 4, 3,01 2. Lhnve shown abovo how this method too does rot give a satisfuctory solution, ‘The rensons.as to why Mr. Pili could hot get satisfactory results in all hie» experiments were : fis, ‘as he admits,the original treatises on ‘Hinda Blusic were not accessible tohim, Secondly, the experiments wore made on fretted instra- gnents, In those instruments, the pressing of the wire or string down to the fret increases the tension, thereby increasing the pitch. The height of strings above the frets in different. jnstraments varies largely, say from 4 to 6 millimetres, Again in playing the same notes on aif. ferent occasions, the same performer is likely to commit mistakes on ‘account of defect of ear or want of proficiency. And, es is admitted by Mr, Ellis himself, ‘it is exceedingly diffcult to determine the jrinnte differences of pitch between notes with qualities of tones 60 differont as those of. plucked strings and, taning forks.”” 20, “Now it may be asked that the ~gf#s (Shratecs ) in the table ‘of 22 Chromatic notes or the Shratec Scale (Table D) do not “appirontly comespoid to (hose assigned for ench of the 7 notes Foi cornet ones, ‘The observations noted in the frst line of the first / note given by plucking tho wire 40 ja the Dintonio -Major Scale. This point is cleared thus. Ss explained by Sanskrit. writers a Shroteo is anyandible suisical against the bridge ; or to speak in terms of the scientist of the West, Sbratee is the smallest musical interval, lying bebween any two consecutive notes of the musical scale, Tay make mycelf clear by giving an example, The musical Gntorval betweon «and af. &. of the Diatonic Blajor Seale (of eight notes inclading the ooiave) is 8:9. ‘This interval was firs divited into three smaller once, each ‘being called a Shrutce. The fanthor of emnfiga first laid down that that af. has three Shratoes, ‘Bat for developing this Diatonie scale into the Chrornatic seale of ‘gwelve or twenty-two notos, it was also laid down that «and ‘aro to bo kept unchanged (aiftrga)- Therefore the sight ‘Shratees ‘of qr and g (Four for each) hud to be distributed amoug the other notes, after retaining one foreach (oue for and one for « )- rodisisibate the remaining six Shniees among the other notes, it ‘was neeossary to divide the interval 8:9 betwoen sr and af. f&. into Tour fagpa eas, exch enlled a Shratee, Under these ciremnstances it will bo easily soon tha: a Shrutes is nota unit of mensure- sant, aa has been supposed to be tho cage by several, writers; but it is an interval lying between any two consecutive yotes, aud a such js Hable to be subdivided into as many smaller intorvals as there may be fen ees, o modifications of tones. Shrutees may be more tha twenty-two also, this number being the oue generally accepted, some Sonsinit authors recognising 42, some 60 and somo saying that they aro innamerable, 21, Te will thus be sean that in forming the Chromatic Seale of trrenty-two Shonteos, tho sume metho of introducing smaller ratios Grintervals is observed, as,that_parsuod in forming the seale of fiveive notes. Tho ale of periet concord on which Sanskrit writers ‘put so sanch emphasis, has. been strictly observed in all the Ween, Tell alan be: clexrvhow. the Chromatic scale of twelve aay yas boon formed out of tht Dintonic coal of even notes, and ou scale of 2 nobas or the Shira’ stale has been’ worked oot ten hat of twelve motes. Kjhave already explained the methods sphich the Sanskrit writers have! for evolving higher and fuer eoales. It is toybe mls : ‘these’ scales “which -are ‘worked. ee41 ont strictly om the Hines laid down by our Sanskit authors are constructed on a thoroughly scientific basis ; and they fully (thoongh thoir intervals ) satisfy the test of the system of cents adopted by Mr. A.J. Ellis. The theory of the erzermay or Dintonie Major seale as already been proponudel above. From all thie it will be evient that the Sanskrit writers were fully eoguisant of the laws of'the constitation of musical sound, which aye been approved of by modem science 5 that they worked ont their seales not * arbitra sly” but on lofinite and regular fied laws; aud that iu formulat= ing their seales they were Jed no’ by “.atrifc guided not by * capricious” ss axl principles. 17° ideas, and were suppositions, bat yrocvede on precise means of the Diaehor aud these tables which have beew ‘ked ont from Surskrit writers, the Musieal Seale cam be deter- el with mathematical procison, ‘The Diaehord with its. moving gives as an acentate moans of determining the several notes cosgeetly 5 aud the notes of the instramentalist or vocalist. can ba tested by referring them to those producsd .on the Dinchonl. Like the tuning forks of the Wost which aro used for testing the carreet= oss oF the notes, the Diachonl with its.moving,Drilgo serves us the ‘The ear, whieh at present chiefly yailes the rons tole a me pepo mausiefan ‘fallible teat of the correctivess atl justmess of the notes it is Hable to vary in te capwvity of aljudgment. Heuew the great importance of the Dinchont. ‘The exporinents which T made with the Dinehonl, were ceoniotot with the assistance of Prof, Abdul Kaseom, an expert pro- {fessional voralist of rotiown, The results of the experiments which 1 ave beon making for the last few years, have heen verified by him. And it is no small satisfuetion to mae, and I believe, as wellas to the public, that the results of my study of the theory of the Hi Musical Seale as proponnded by the old Sanskeit writers have been 9} provedofan% amply corroborated ty eminent professional artistes like Prof. Aldal Kareem. It might be stated here “that, bat for tie kind belp and open-hearted assistance of the Professor, I shonld not have been able to lay these few ileas before the public. I eannot but liere express my hear Elt obligations tothe worksof moder 42 ; fndian writers: like Messrs. Kimte, Pingale, Sahasrabuddhe, Ban- ‘batti, Chiona Swami Madliar, and Raja Sarendra Moun Tagore among others aud also to tho works of European writers like Sir Willian Jones, Capt. Day, Messrs. Bosanquot and A. J. Bilis, for ‘the valnablo light of information and criticism which they throw upon ‘the subject. ‘To the study of Hindn Music which these writers made and to their labours for rexenerating: and encoataging this Art ‘of Arts, [humbly and rospeetiully add my share, infinitesimally ssmall though itis. As endeavours in this direction ave cxrtied and pursue further, it is quite possible that more light will be thrown on the snbivcts and perhaps the results which I have I stand open to ‘obtained at prosent might wudergo molitication, correction. ¢ conclute withont making an appeal to the public rests of this Art of Music. At present, broadly. speaking, the Art is eoufinal to two classes, professional Mnsivians—Voelists cor Instramentalists—and the operatic (fa) stage. And if the sexcullenee of the Art is to bo found anywhere, It mast bo admitted to ‘eSist, among the “Professional Musicians only. ALL eredit is due to them, Heeanse in spite of the abseuce wf material encouragement: im recent times, they alone lave still preserve and protactet this ancieut developed Ast fiom total extinction. Our Hindoo religion, 0 comprehensive ju its relation to lie as to lantly leave any subject onisid the sphere of its iutinenee, Hins done not litte, in fact it his done the utmost, by meaus of the rites and ceremonials which embody musie as a part of thoie progrumme, to preserve, cultivate and develop this Avt. ‘The great stimulus which Iustitations like the Gay Samaj of Poona and other centres, aud the Gandbarva Maha Vidyalaya of Lahore (the Academy of Indian Music, conducted by Pandit Vishno Digamber Paluskar), have given +o the study of this Art by creating a wide interest amoug the people, mast be caudidly acknowledged. All these attempts are surely com= ‘mendable, but looking to the steady and slow declitie of this Art ‘in recout times, it must be recognised that they are insufficient for the ‘Purpose in view. The blind imitation of the Westerns which was the besetting sin of our educated people about 50 years ago, has had its ‘vil effects on Musie also as on other spheres of activity. No other ‘| gat ee 8 institution succambed to the passion so completaly asour Dramatic lage. The harmonium and piano of the West soon: took the place of ‘the Veon, Bin and the Sarangi and the musical: precision and rich melody of old soon gave place to imperfect and graceloss music. ‘Tnstraments of the harmonium family with fixed “keys which reign ‘supreme at present on onr stage, are based on the European Temperate ‘Seal, which is admitted by Bueopoan musicians thenusolves to be a defective seale. As obsorvel. by Profesor Blaserna, “it is an in~ feorreat scale. It has destroyed many delicacies and has given to ‘music, founded on simple aud exact lavws,+a character of almost course approximation.” These are instraments with fixed keys, they restrict fa musician by compelling him to choose a note ont of a fixed. scrle, aud that too arranged on an approimation to waturat tones. Again the notes on the piano or barmoninn die wway rapidly and do not give rise to overtones which wre tle essentials of rich ancl goo music. ‘Aroha (aseont ), Avarohs (descont ), Marebichhana (a qnarter-tone ), “Mends, o Ghasits—all these are necessary for the proper exeeation ‘of'a Raga or Ragini; and in the very nature of things, they cannot tie had on the hasmoniam oF piano. Yet ont musical pisces which are composed in aegordance with the rales of Indian. Music, are sum fon tho stage in accompaniment with these instraments For example, ‘the singer of gear erver (a Raga ), obtains on the harmeniam not ‘the counterpart of his Raga, Dut quite a differont taue ; and the sacale is the-creation of imporfoct music. ad Indicrous incongruity Aad yelp it. is this incongruity Which, is enacted | and _RlGatel dh our dramatic stage, night after night! As: Rrofessor Glgwerna Hgbtly. observes, “music founded on the tepzrite scale annst be considered os imperfect music and farbelow eal se Dilty aud asppritions. ‘hati is endared aud even thonght beautiful ~enlyshews tint oar ears Inve Leen systematically faleified from ine Taney." How truly do those semazks old goo in our case, may ~~ o ton, Mr, Mai Mackndte To me tat vod mie wid muse on Seen en ete esong and plyed ie te gsact ele by oa- inerrant eee at would add thatthe tempera le been sects pe teal the eugene of atresia Fags ‘edotages forte hts cesta, 2 star le to al shecsSriuc is dpondest on tansoston 30d serra ac key t anotinrarptlt to far outwaigh its dis- on om male probity oe Teter, borg male {2,80 ‘pear fate 30 asa tino Laer Mose which perod : a dec ne oda, at Ped vbtaver for «tm.