THE

Musiçal Scales of the Dindus:

WITH

REMARKS ON THE APPLICABILITY

OF

HARMONY TO HINDU MUSIC,

BY

RAJAH COMM. SOURINDRO MOHUN TAGORE, Mus. Doc., SANGITA-NAYAKA, Companion of the Order of the Indian Empire; FOUNDER AND PRESIDENT, BENGAL ACADEMY OF MUSIC; KNIGHT GRAND CROSS, COMMANDER, OR CHEVALIER OF SEVERAL IMPERIAL, ROYAL, REPUBLICAN OR ECCLESIASTICAL EQUESTRIAN ORDERS ; AND HONORARY PATRON, PRESIDENT, OR MEMBER OF VARIOUS LITERARY, SCIENTIFIC AND HUMANITARIAN SOCIETIES OR ACADEMIES OF EUROPE, ASIA, AFRICA AND AMERICA ; "NAWAB" OF THE PERSIAN EMPIRE.

CALCUTTA: PRINTED BY I. C. BOSE & Co., STANHOPE PRESS, 249, BOW-BAZAR STREET, AND PUBLISHED BY THE BENGAL ACADEMY OF MUSIO, PATHURIAGHATA RAJBATI.

[All rights reserved.]

R.M.I.C. LIBRARY Acc. No. 21462 Class No.

Date

St. Ca .. Clasa

Cat Bk. Ca' Checkr

TO

His prcellency the Most Hon'ble

THE MARQUIS OF RIPON,

K.G., P.C., G.M.S.I., G.M.I.E., &c., &c., &c.,

icerog ans overnor-Seneral of nsia,

THIS BOOK IS,

WITH PERMISSION,

MOST RESPECTFULLY DEDICATED

BY

HIS EXCELLENCY'S MOST OBLIGED AND HUMBLE SERVANT,

S. M. TAGORE.

PREFACE.

T the request of several European friends who take a lively interest in the Music of this country and would like to see it improved by the use of Harmony, I have ventured to publish the follow- ing pages with the object of acquainting them with the charactcristic features of Hindu Music and of showing to what extent its spirit would admit of the application of Harmony thereto. How far have I been successful in giving a clear expression to my views regarding the question, I do not feel competent to say. But if a perusal of these pages enables any Musician to arrive at a definite conclusion on the subject, I shall deem myself amply rewarded.

CALCUTTA, Pathuriaghata Rajbati, S. M. TAGORE. 31st July 1884.

CONTENTS.

SCALES. Page. Sampúrna Thát ... 1 ... ...

Shárava Thát ... ... 7 ...

Orava Thát ... 30 ... ...

ILLUSTRATIONS. Sampúrna Thát-

Ráginí Deogirí ... ... ... 62 . ... Raga Panchama ... ... 63 ...

Ráginí Deosága ... 64 ... ... ...

Kalyána ... 65 ... Panchama-Bahara ... 66 ... ...

Jhijhití ... ... 67 ... ..

Soha-Bhairavi 68 ... ... ...

Maligaura ... 69 ... ...

Kaliñgará ... 70 ... Amra-Panchama ... ... 71 ... Vallari ... ... 72 ... ...

Pilu ... 73 ... ... ...

Sindhu ... 74 ... ... ...

Kaumáriká ... ... 75 ... Dhanas'rí ... 76 ... ... ...

Yogina ... ... ... 77

Bagísvarí ... 78 .. ... ...

Gujjarí ... ... ... 79

Bhairavi .. ... ... 80

Torí .. ... 81 ... ...

Shárava Thát-

Raginí Bibhása 82 .. .. ... Sur-Mallára ... ... 83 ...

-0 ii CONTENTS.

Page. Ráginí Sohiní ... 84 Puriyá ... 85 Nagadhvani-Kanará ... 86

Orava Thát-

Raginí Vrindavaní-Sáranga 87

Hindola ... 88 Málasʼrí 89

Dhabalas'rí ... 90 ... ...

Malkos'a ... ... 91

Remarks on the applicability of Harmony to Hindu Music ... ... ... ... 93

THE

Musical Scales of the Dindus.

SAMPURNA THAT .*

ASCENDING. (1) DESCENDING.

With D Flat.

ASCENDING. (2) DESCENDING.

With E Flat.

ASCENDING. (3) DESCENDING.

With F Sharp. ASCENDING. (4) DESCENDING.

• Scales consisting of Seven Notes.

2 THE MUSICAL SCALES OF THE HINDUS.

With A Flat.

ASCENDING. (5) DESCENDING.

With B Flat.

ASCENDING. (6) DESCENDING.

With D and E Flat.

ASCENDING. (7) DESCENDING.

With D Flat and F Sharp.

ASCENDING. (8) DESCENDING.

With D and A Flat. - ASCENDING. (9) DESCENDING.

THE MUSICAL SCALES OF THE HINDUS. 3

With D and B Flat.

ASCENDING. (10) DESCENDING.

With E Flat and F Sharp.

ASCENDING. (11) DESCENDING.

With E and A Flat.

ASCENDING. (12) DESCENDING.

With E and B Flat.

ASCENDING. (13) DESCENDING.

With F Sharp and A Flat.

ASCENDING. (14) DESCENDING.

4 THE MUSICAL SCALES OF THE HINDUS.

With F Sharp and B Flat.

ASCENDING. (15) DESCENDING.

With A and B Flat.

ASCENDING. (16) DESCENDING.

With D and E Flat and F Sharp.

ASCENDING. (17) DESCENDING.

With D, E, and A Flat.

ASCENDING. (18) DESCENDING.

With D, E, and B Flat.

ASCENDING. (19) DESCENDING.

THE MUSICAL SCALES OF THE HINDUS. 5

With D Flat, F Sharp and A Flat.

ASCENDING. (20) DESCENDING.

.

With D Flat, F Sharp and B Flat.

ASCENDING. (21) DESCENDING.

With D, A, and B Flat.

ASCENDING. (22) DESCENDING.

With E Flat, F Sharp and A Flat.

ASCENDING. (23) DESCENDING.

With E Flat, F Sharp and B Flat.

ASCENDING. (24) DESCENDING.

6 THE MUSICAL SCALES OF THE HINDUS.

With E, A, and B Flat.

ASCENDING. (25) DESCENDING.

With F Sharp, A and B Flat.

ASCENDING. (26) DESCENDING.

With D and E Flat, F Sharp and A Flat.

ASCENDING. (27) DESCENDING.

With D and E Flat, F Sharp and B Flat.

ASCENDING. (28) DESCENDING.

With D, E, A, and B Flat.

ASCENDING. (29) DESCENDING.

THE MUSICAL SCALES OF THE HINDUS. 7

With D Flat, F Sharp, A and B Flat. ASCENDING. (30) DESCENDING.

With E Flat, F Sharp, A and B Flat.

ASCENDING. (31) DESCENDING.

With D and E Flat, F Sharp, A and B Flat. ASCENDING. (32) DESCENDING.

SHARAVA THAT .*

With D omitted.

ASCENDING. (1) DESCENDING.

With E omitted.

ASCENDING. (2) DESCENDING.

• Scales consisting of Six Notes.

8 THE MUSICAL SCALES OF THE HINDUS.

With F omitted. ASCENDING. (3) DESCENDING.

With G omitted.

ASCENDING. (4) DESCENDING.

With A omitted. ASCENDING. (5) DESCENDING.

With B omitted. ASCENDING. (6) DESCENDING.

With D omitted and with E Flat. ASCENDING. (7) DESCENDING.

With D omitted and with F Sharp. ASCENDING. (8) DESCENDING.

THE MUSICAL SCALES OF THE HINDUS. 9

With D omitted and with A Flat.

ASCENDING. (9) DESCENDING.

With D omitted and with B Flat.

ASCENDING. (10) DESCENDING.

With E omitted and with D Flat.

ASCENDING. (11) DESCENDING.

With E omitted and with F Sharp.

ASCENDING. (12) DESCENDING.

TTT TTO

With E omitted and with A Flat.

ASCENDING. (13) DESCENDING.

B

10 THE MUSICAL SOALES OF THE HINDUS.

With E omitted and with B Flat.

ASCENDING. (14) DESCENDING.

bo

With F omitted and with D Flat.

ASCENDING. (15) DESCENDING.

With F omitted and with E Flat.

ASCENDING. (16) DESCENDING.

With F omitted and with A Flat.

ASCENDING. (17) DESCENDING.

With F omitted and with B Flat.

ASCENDING. (18) DESCENDING.

THE MUSICAL SCALES OF THE HINDUS. 11

With G omitted and with D Flat.

ASCENDING. (19) DESCENDING.

With G omitted and with E Flat.

ASCENDING. (20) DESCENDING.

With G omitted and with F Sharp.

ASCENDING. (21) DESCENDING.

TO

With G omitted and with A Flat.

ASCENDING. (22) DESCENDING.

With G omitted and with B Flat.

ASCENDING. (23) DESCENDING.

12 THE MUSICAL SCALES OF THE HINDUS.

With A omitted and with D Flat.

ASCENDING. (24) DESCENDING.

With A omitted and with E Flat.

ASCENDING. (25) DESCENDING.

With A omitted and with F Sharp.

ASCENDING. (26) DESCENDING.

With A omitted and with B Flat.

ASCENDING. (27) DESCENDING.

With B omitted and with D Flat.

ASCENDING. (28) DESCENDING.

THE MUSICAL SCALES OF THE HINDUS. 19

With B omitted and with E Flat.

ASCENDING. (29) DESCENDING.

With B omitted and with F Sharp.

ASCENDING. (30) DESCENDING.

With B omitted and with A Flat.

ASCENDING. (31) DESCENDING.

With F omitted and with D and E Flat.

ASCENDING. (32) DESCENDING.

With G omitted and with D and E Flat.

ASCENDING. (33) DESCENDING.

14 THE MUSICAL SCALES OF THE HINDUS.

With A omitted and with D and E Flat.

ASCENDING. (34) DESCENDING.

With B omitted and with D and E Flat.

ASCENDING. (35) DESCENDING.

With E omitted and with D Flat and F Sharp.

ASCENDING. (36) DESCENDING.

مـ

With G omitted and with D Flat and F Sharp.

ASCENDING. (37) DESCENDING.

With A omitted and with D Flat and F Sharp.

ASCENDING. (38) DESCENDING.

THE MUSICAL SCALES OF THE HINDUS. 15

With B omitted and with D Flat and F Sharp.

ASCENDING. (39) DESCENDING.

FF

With E omitted and with D and A Flat.

ASCENDING. (40) DESCENDING.

With F omitted and with D and A Flat.

ASCENDING. (41) DESCENDING.

With G omitted and with D and A Flat.

ASCENDING. (42) DESCENDING.

With B omitted and with D and A Flat.

ASCENDING. (43) DESCENDING.

16 THE MUSICAL SCALES OF THE HINDUS.

With E omitted and with D and B Flat.

ASCENDING. (44) DESCENDING.

With F omitted and with D and B Flat.

ASCENDING. (45) DESCENDING.

With G omitted and with D and B Flat.

ASCENDING. (46) DESCENDING.

With A omitted and with D and B Flat.

ASCENDING. (47) DESCENDING.

With D omitted and with E Flat and F Sharp.

ASCENDING. (48) DESCENDING.

THE MUSICAL SCALES OF THE HINDUS. 17

With G omitted and with E Flat and F Sharp.

ASCENDING. (49) DESCENDING.

With A omitted and with E Flat and F Sharp.

ASCENDING. (50) DESCENDING.

With B omitted and with E Flat and F Sharp.

ASCENDING. (51) DESCENDING.

With D omitted and with E and A Flat.

ASCENDING. (52) DESCENDING.

With F omitted and with E and A Flat.

ASCENDING. (53) DESCENDING.

C

18 THE MUSICAL SOALES OF THE HINDUS.

With G omitted and with E and A Flat.

ASCENDING. (54) DESCENDING.

With B omitted and with E and A Flat.

ASCENDING. (55) DESCENDING.

With D omitted and with E and B Flat.

ASCENDING. (56) DESCENDING.

With F omitted and with E and B Flat.

ASCENDING. (57) DESCENDING.

With G omitted and with E and B Flat.

ASCENDING. (58) DESCENDING.

THE MUSICAL SCALES OF THE HINDUS, 19

With A omitted and with E and B Flat.

ASCENDING. (59) DESCENDING.

With D omitted and with F Sharp and A Flat.

ASCENDING. (60) DESCENDING.

With E omitted and with F Sharp and A Flat.

ASCENDING. (61) DESCENDING.

With G omitted and with F Sharp and A Flat.

ASCENDING. (62) DESCENDING.

With B omitted and with F Sharp and A Flat.

ASCENDING. (63) DESCENDING.

20 THE MUSICAL SCALES OF THE HINDUS.

With D omitted and with F Sharp and B Flat.

ASCENDING. (64) DESCENDING.

With E omitted and with F Sharp and B Flat.

ASCENDING. (65) DESCENDING.

With G omitted and with F Sharp and B Flat.

ASCENDING. (66) DESCENDING.

With A omitted and with F Sharp and B Flat.

ASCENDING. (67) DESCENDING.

With D omitted and with A and B Flat.

ASCENDING. .(68) DESCENDING.

THE MUSICAL SCALES OF THE HINDUS. 21

With E omitted and with A and B Flat.

ASCENDING. (69) DESCENDING.

With F omitted and with A and B Flat.

ASCENDING. (70) DESCENDING.

With G omitted and with A and B Flat.

ASCENDING. (71) DESCENDING.

With G omitted and with D, E Flat and F Sharp.

ASCENDING. (72) DESCENDING.

With A omitted and with D, E Flat and F Sharp.

ASOENDING. (73) DESCENDING.

TN TAMAKR SHNA M I2SION INSTITEN OF . ULTUKE 27.462 LIBRARY

22 THE MUSICAL SCALES OF THE HINDUS.

With B omitted and with D, E Flat and F Sharp.

ASCENDING. (74) DESCENDING.

b

With F omitted and with D, E and A Flat.

ASCENDING. (75) DESCENDING.

With G omitted and with D, E and A Flat.

ASCENDING. (76) DESCENDING.

With B omitted and with D, E and A Flat.

ASCENDING. (77) DESCENDING.

With F omitted and with D, E and B Flat.

ASCENDING. (78) DESCENDING.

THE MUSICAL SCALES OP THE HINDUS. 23

With G omitted and with D, E and B Flat.

ASCENDING. (79) DESCENDING.

With A omitted and with D, E and B Flat.

ASCENDING. (80) DESCENDING.

With E omitted and with D Flat, F Sharp and A Flat.

ASCENDING. (81) DESCENDING.

With G omitted and with D Flat, F Sharp and A Flat.

ASCENDING. (82) DESCENDING.

ba

With B omitted and with D Flat, F Sharp and A Flat.

ASCENDING. (83) DESCENDING.

24 THE MUSIOAL SCALES OF THE HINDUS.

With E omitted and with D Flat, F Sharp and B Flat.

ASCENDING. (84) DESCENDING.

With G omitted and with D Flat, F Sharp and B Flat.

ASCENDING. (85) DESCENDING.

With A omitted and with D Flat, F Sharp and B Flat.

ASCENDING. (86) DESCENDING.

With E omitted and with D, A and B Flat.

ASCENDING. (87) DESCENDING.

With F omitted and with D, A and B Flat.

ASCENDING. (88) DESCENDING.

b

THE MUSICAL SCALES OF THE HINDUS. 25

With G omitted and with D, A and B Flat.

ASCENDING. (89) DESCENDING.

b

With D omitted and with E Flat, F Sharp and A Flat.

ASCENDING. (90) DESCENDING.

With Gomitted and with E Flat, F Sharp and A Flat.

ASCENDING. (91) DESCENDING.

With B omitted and with E Flat, F Sharp and A Flat.

ASCENDING. (92) DESCENDING.

With D omitted and with E Flat, F Sharp and B Flat.

ASCENDING. (93) DESCENDING.

D

26 THE MUSICAL SOALES OF THE HINDUS.

With G omitted and with E Flat, F Sharp and B Flat.

ASCENDING. (94) DESCENDING.

With A omitted and with E Flat, F Sharp and B Flat.

ASCENDING. (95) DESCENDING.

With D omitted and with E, A and B Flat.

ASCENDING. (96) DESCENDING.

With F omitted and with E, A and B Flat.

ASCENDING. (97) DESCENDING.

With G omitted and with E, A and B Flat.

ASCENDING. (98) DESCENDING.

THE MUSICAL SCALES OF THE HINDUS. 27

With D omitted and with F Sharp, A and B Flat.

ASCENDING. (99) DESCENDING.

With E omitted and with F Sharp, A and B Flat.

ASCENDING. (100) DESCENDING.

With G omitted and with F Sharp, A and B Flat.

ASCENDING. (101) DESCENDING.

With G omitted and with D, E Flat, F Sharp and A Flat.

ASCENDING. (102) DESCENDING.

With B omitted and with D, E Flat, F Sharp and A Flat.

ASCENDING. (103) DESCENDING.

28 THE MUSICAL SCALES OF THE HINDUS.

With G omitted and with D, E Flat, F Sharp and B Flat.

ASCENDING. (104) DESCENDING.

With A omitted and with D, E Flat, F Sharp and B Flat.

ASCENDING. (105) DESCENDING.

With F omitted and with D, E, A and B Flat.

ASCENDING. (106) DESCENDING.

With G omitted and with D, E, A and B Flat.

ASCENDING. (107) DESCENDING.

With E omitted and with D Flat, F Sharp, A and B Flat.

ASCENDING. (108) DESCENDING.

THE MUSICAL SCALES OF THE HINDUS. 29

With G omitted and with D Flat, F Sharp, A and B Flat.

ASCENDING. (109) DESCENDING.

With D omitted and with E Flat, F Sharp, A and B Flat.

ASCENDING. (110) DESCENDING.

With G omitted and with E Flat, F Sharp, A and B Flat.

ASCENDING. (111) DESCENDING.

bobi

With G omitted and with D, E Flat, F Sharp, A and B Flat.

ASCENDING. (112) DESCENDING.

80 THE MUSIOAL SCALES OF THE HINDUS.

ORABA THAT .*

With D and E omitted. ASCENDING, (1) DESCENDING.

With D and F omitted. ASCENDING. (2) DESCENDING.

27462 With D and G omitted.

ASCENDING. (3) DESCENDING.

With D and A omitted. ASCENDING. (4) DESCENDING.

With D and B omitted. ASCENDING. (5) DESCENDING.

• Scales consisting of five Notes.

THE MUSICAL SCALES OF THE HINDUS. 31

With E and F omitted.

ASCENDING. (6) DESCENDING.

With E and G omitted.

ASCENDING. (7) DESCENDING.

With E and A omitted.

ASCENDING. (8) DESCENDING.

With E and B omitted.

ASOENDING. (9) DESCENDING.

With F and G omitted.

ASCENDING. (10) DESCENDING.

32 THE MUSICAL SCALES OF THE HINDUS.

With F and A omitted.

ASCENDING. (11) DESCENDING.

With F and B omitted.

ASCENDING. (12) DESCENDING.

With G and A omitted.

ASCENDING. (13) DESCENDING.

With G and B omitted.

ASCENDING. (14) DESCENDING.

With A and B omitted.

ASCENDING. (15) DESCENDING,

THE MUSICAL SCALES OF THE HINDUS. 83

With D and E omitted and with F Sharp.

ASCENDING. (16) DESCENDING.

With D and E omitted and with A Flat.

ASCENDING. (17) DESCENDING.

With D and E omitted and with B Flat.

ASCENDING. (18) DESCENDING.

With D and F omitted and with E Flat.

ASCENDING. (19) DESCENDING,

With D and F omitted and with A Flat.

ASCENDING. (20) DESCENDING.

E

34 THE MUSICAL SCALES OF THE HINDUS.

With D and F omitted and with B Flat.

ASCENDING. (21) DESCENDING.

With D and G omitted and with E Flat.

ASCENDING. (22) DESCENDING.

With D and G omitted and with F Sharp.

ASCENDING. (23) DESCENDING.

With D and G omitted and with A Flat.

ASCENDING. (24) DESCENDING.

With D and G omitted and with B Flat.

ASCENDING. (25) DESCENDING.

THE MUSICAL SCALES OF THE HINDUS. 35

With D and A omitted and with E Flat.

ASCENDING. (26) DESCENDING.

With D and A omitted and with F Sharp.

ASCENDING. (27) DESCENDING.

With D and A omitted and with B Flat.

ASCENDING. (28) DESCENDING.

With D and B omitted and with E Flat.

ASCENDING. (29) DESCENDING.

With D and B omitted and with F Sharp.

ASCENDING. (30) DESCENDING.

36 THE MUSICAL SCALES OF THE HINDUS.

With D and B omitted and with A Flat.

ASCENDING. (31) DESCENDING.

With E and F omitted and with D Flat.

ASCENDING. (32) DESCENDING.

With E and F omitted and with A Flat.

ASCENDING. (33) DESCENDING.

With E and F omitted and with B Flat.

ASCENDING. (3t) DESCENDING.

bc

With E and G omitted and with D Flat.

ASCENDING. (35) DESCENDING.

b

THE MUSICAL SCALES OF THE HINDUS. 37

With E and G omitted and with F Sharp.

ASCENDING. (36) DESCENDING.

With E and G omitted and with A Flat.

ASCENDING. (37) DESCENDING.

With D and G omitted and with B Flat.

ASCENDING. (38) DESCENDING.

With E and A omitted and with D Flat.

ASCENDING. (39) DESCENDING.

b

With E and A omitted and with F Sharp.

ASCENDING. (40) DESCENDING.

38 THE MUSICAL SCALES OF THE HINDUS.

With E and A omitted and with B Flat.

ASCENDING, (41) DESCENDING.

With E and B omitted and with D Flat.

ASCENDING. (42) DESCENDING.

With E and B omitted and with F Sharp.

ASCENDING. (43) DESCENDING.

With E and B omitted and with A Flat.

ASCENDING. (44) DESCENDING.

With F and G omitted and with D Flat.

ASCENDING. (45) DESCENDING.

THE MUSICAL SCALES OF THE HINDUS. 39

With F and G omitted and with E Flat.

ASCENDING. (46) DESCENDING.

With F and G omitted and with A Flat.

ASCENDING. (47) DESCENDING.

With F and G omitted and with B Flat.

ASCENDING. (48) DESCENDING.

With F and A omitted and with D Flat.

ASCENDING. (49) DESCENDING.

b

With F and A omitted and with E Flat.

ASCENDING. (50) DESCENDING

40 THE MUSICAL SCALES OF THE HINDUS.

With F and A omitted and with B Flat.

ASCENDING. (51) DESCENDING.

With F and B omitted and with D Flat.

ASCENDING. (52) DESCENDING.

With F and B omitted and with E Flat.

ASCENDING. (53) DESCENDING.

With F and B omitted and with A Flat.

ASCENDING. (54) * DESCENDING.

With G and A omitted and with D Flat.

ASCENDING. (55) DESCENDING.

THE MUSICAL SCALES OF THE HINDUS. 41

With G and A omitted and with E Flat.

ASCENDING. (56) DESCENDING.

With G and A omitted and with F Sharp.

ASCENDING. (57) DESCENDING.

With G and A omitted and with B Flat.

ASCENDING. (58) DESCENDING.

With G and B omitted and with D Flat.

ASCENDING. (59) DESCENDING.

With G and B omitted and with E Flat.

ASCENDING. (60) DESCENDING.

F

49 ER XISIONL SCALDO OF TEB HINDUS.

With G and B omitted and with F Sharp.

ASCENDING. (61) DESCENDING.

With G and B omitted and with A Flat.

ASCENDING. (62) DESCENDING.

With A and B omitted and with D Flat.

ASCENDING. (63) DESCENDING.

With A and B omitted and with E Flat.

ASCENDING. (64) DESCENDING.

With A and B omitted and with F Sharp.

ASCENDING. (65) DESCENDING.

THE MUSICAL SCALES OF THE HINDUS. 43

With D and E omitted and with F Sharp and A Flat.

ASCENDING. (66) DESCENDING.

With D and E omitted and with F Sharp and B Flat.

ASCENDING. (67) DESCENDING.

With D and E omitted and with A and B Flat.

ASCENDING. (68) DESCENDING.

With D and F omitted and with E and A Flat.

ASCENDING. (69) DESCENDING.

With D and F omitted and with E and B Flat.

ASCENDING. (70) DESCENDING.

44 THE MUSICAL SCALES OF THE HINDUS.

With D and F omitted and with A and B Flat.

ASCENDING. (71) DESCENDING.

With D and G omitted and with E Flat and F Sharp.

ASCENDING. (72) DESCENDING.

With D and G omitted and with E and A Flat.

ASCENDING. (73) DESCENDING.

With D and G omitted and with E and B Flat.

ASCENDING. (74) DESCENDING.

With D and G omitted and with F Sharp and A Flat.

ASCENDING. (75) DESCENDING.

THE MUSICAL SCALES OF THE HINDUS. 45

With D and G omitted and with F Sharp and B Flat.

ASCENDING. (76) DESCENDING.

With D and G omitted and with A and B Flat.

ASCENDING. (77) DESCENDING.

With D and A omitted and with E Flat and F Sharp.

ASCENDING. (78) DESCENDING.

With D and A omitted and with E and B Flat.

ASCENDING. (79) DESCENDING.

With D and A omitted and with F Sharp and B Flat.

ASCENDING. (80) DESCENDING.

46 THE MUSICAL SCALES OF THE HINDUS.

With D and B omitted and with E Flat and F Sharp.

ASCENDING. (81) DESCENDING.

be

With D and B omitted and with E and A Flat.

ASCENDING. (82) DESCENDING.

With D and B omitted and with F Sharp and A Flat.

ASCENDING. (83) DESCENDING.

EPF

With E and F omitted and with D and A Flat.

ASCENDING. (84)* DESCENDING.

b

With E and F omitted and with D and B Flat.

ASCENDING. (85) DESCENDING.

THE MUSICAL SCALES OF THE HINDUS. 47

With E and F omitted and with A and B Flat.

ASCENDING. (86) DESCENDING.

With E and G omitted and with D Flat and F Sharp.

ASCENDING. (87) DESCENDING.

With E and G omitted and with D and A Flat.

ASCENDING. (88) DESCENDING.

With E and G omitted and with D and B Flat.

ASCENDING. (89) DESCENDING.

With E and G omitted and with F Sharp and A Flat.

ASCENDING. (90) DESCENDING.

48 THE MUSICAL SCALES OF THE HINDUS.

With E and G omitted and with F Sharp and B Flat.

ASCENDING. (91) DESCENDING.

P

With E and G omitted and with A and B Flat.

ASCENDING. (92) DESCENDING.

With E and A omitted and with D Flat and F Sharp.

ASCENDING. (93)' DESCENDING.

With E and A omitted and with D and B Flat.

ASCENDING. (94) DESCENDING.

With E and A omitted and with F Sharp and B Flat.

ASCENDING. (95) DESCENDING.

THE MUSICAL SCALES OF THE HINDUS. 49

With E and B omitted and with D Flat and F Sharp.

ASCENDING. (96) DESCENDING.

With E and B omitted and with D and A Flat.

ASCENDING. (97) DESCENDING.

مـ

With E and Bomitted and with F Sharp and A Flat.

ASCENDING. (98) DESCENDING.

With F and G omitted and with D and E Flat.

ASCENDING. (99) DESCENDING.

With F and G omitted and with D and A Flat.

ASCENDING. (100) DESCENDING.

50 THE MUSICAL SCALES OF THE HINDUS.

With F and G omitted and with D and B Flat.

ASCENDING. (101) DESCENDING.

With F and G omitted and with E and A Flat.

ASCENDING. (102) DESCENDING.

bo

With F and G omitted and with E and B Flat.

ASCENDING. (103) DESCENDING.

P

With F and G omitted and with A and B Flat.

ASCENDING. (104) DESCENDING.

With F and A omitted and with D and E Flat.

ASCENDING. (105) DESCENDING.

THE MUSICAL SCALES OF THE HINDUS. 51

With F and A omitted and with D and B Flat.

ASCENDING. (106) DESCENDING.

With F and A omitted and with E and B Flat.

ASCENDING. (107) DESCENDING.

With F and B omitted and with D and E Flat.

ASCENDING. (108) DESCENDING.

With F and B omitted and with D and A Flat.

ASCENDING. (109) DESCENDING.

With F and B omitted and with E and A Flat.

ASCENDING. (110) DESCENDING.

52 THE MUSICAL SCALES OF THE HINDUS.

With G and A omitted and with D and E Flat.

ASCENDING. (111) DESCENDING.

With G and A omitted and with D Flat and F Sharp.

ASCENDING. (112) DESCENDING.

FF

With G and A omitted and with D and B Flat.

ASCENDING. (113) DESCENDING.

b

With G and A omitted and with E Flat and F Sharp.

ASCENDING. (114) DESCENDING.

With Gand A.omitted and with E and B Flat.

ASCENDING. (115) DESCENDING.

THE MUSICAL SCALES OF THE HINDUS. 53

With G and A omitted and with F Sharp and B Flat.

ASCENDING. (116) DESCENDING.

With G and B omitted and with D and E Flat.

ASCENDING. (117) DESCENDING.

With G and B omitted and with D Flat and F Sharp.

ASCENDING. (118) DESCENDING.

FF

With G and B omitted and with D and A Flat.

ASCENDING. (119) DESCENDING.

With G and B omitted and with E Flat and F Sharp.

ASCENDING. (120) DESCENDING.

54 THE MUSICAL SCALES OF THE HINDUS.

With G and B omitted and with E and A Flat.

ASCENDING. (121) DESCENDING.

With G and B omitted and with F Sharp and A Flat.

ASCENDING. (122) DESCENDING.

With A and B omitted and with D and E Flat.

ASCENDING. (123) DEŚCENDING.

With A and Bomitted and with D Flat and F Sharp.

ASCENDING. (124) DESCENDING.

With A and Bomitted and with E Flat and F Sharp.

ASCENDING. (125) DESCENDING.

THE MUSICAL SCALES OF THE HINDUS. 55

WithD and E omitted and with F Sharp, A and B Flat.

ASCENDING. (126) DESCENDING.

With D and F omitted and with E, A and B Flat.

ASCENDING. (127) DESCENDING.

With D and G omitted and with E Flat, F Sharp and A Flat.

ASCENDING. (128) DESCENDING.

With Dand G omitted and with E Flat, F Sharp and B Flat.

ASCENDING. (129) DESCENDING.

With D and Gomitted and with E, A and B Flat.

ASCENDING. (130) DESCENDING.

56 THE MUSICAL SCALES OF THE HINDUS.

With D and G omitted and with F Sharp, A and B Flat.

ASCENDING. (131) DESCENDING.

With D and A omitted and with E Flat, F Sharp and B Flat. ASCENDING. (132) DESCENDING.

With D and B omitted and with E Flat, F Sharp and A Flat. ASCENDING. (133) DESCENDING.

With E and F omitted and with D, A and B Flat.

ASCENDING. (134) DESCENDING.

With E and G omitted and with D Flat, F Sharp and A Flat. ASCENDING. (135) DESCENDING.

THE MUSICAL SCALES OF THE HINDUS. 57

With E and G omitted and with D Flat, F Sharp and B Flat. ASCENDING. (136) DESCENDING.

With E and G omitted and with D, A and B Flat.

ASCENDING. (137) DESCENDING.

With E and G omitted and with F Sharp, A and B Flat. ASCENDING. (138) DESCENDING.

With E and A omitted and with D Flat, F Sharp and B Flat.

ASCENDING. (139) DESCENDING.

With E and B omitted and with D Flat, F Sharp and A Flat. ASCENDING. (140) DESCENDING.

H

58 THE MUSICAL SCALES OF THE HINDUS.

With F and G omitted and with D, E and A Flat.

ASCENDING. (141) DESCENDING.

With F and G omitted and with D, E and B Flat.

ASCENDING. (142) DESCENDING.

With F and G omitted and with D, A and B Flat.

ASCENDING. (143) DESCENDING.

With F and G omitted and with E, A and B Flat.

ASCENDING. (144) DESCENDING.

With Fand A omitted and with D, E and B Flat.

ASCENDING. (145) DESCENDING.

b

THE MUSICAL SCALES OF THE HINDUS. 59

With F and B omitted and with D, E and A Flat.

ASCENDING. (146) DESCENDING.

With G and A omitted and with D, E Flat and F Sharp. ASCENDING. (147) DESCENDING.

With G and A omitted and with D, E and B Flat.

ASCENDING. (148) DESCENDING.

With G and A omitted and with D Flat, F Sharp and B Flat.

ASCENDING. (149) DESCENDING.

With G and A omitted and with E Flat, F Sharp and B Flat.

ASCENDING. (150) DESCENDING.

60 THE MUSICAL SCALES OF THE HINDUS.

With G and B omitted and with D, E Flat and F Sharp. ASCENDING. (151) DESCENDING.

With G and B omitted and with D, E and A Flat.

ASCENDING. (152) DESCENDING.

ما

With G and B omitted and with D Flat, F Sharp and A Flat.

ASCENDING. (153) DESCENDING.

مـ

With G and B omitted and with E Flat, F Sharp and A Flat. ASCENDING. (154) DESCENDING.

With A and B omitted and with D, E Flat and F Sharp. ASCENDING. (155) DESCENDING.

b

THE MUSICAL SCALES OF THE HINDUS. 61

With D and G omitted and with E Flat, F Sharp, A and B Flat. ASCENDING. (156) DESCENDING.

With E and G omitted and with D Flat, F Sharp, A and B Flat. ASCENDING. (157) DESCENDING.

With F and G omitted and with D, E, A and B Flat.

ASCENDING. (158) DESCENDING.

With G and A omitted and with D, E Flat, F Sharp and B Flat.

ASCENDING. (159) DESCENDING.

With G and Bomitted and with D, E Flat, F Sharp and A Flat.

ASCENDING. (160) DESCENDING.

PT

62 THE MUSICAL SCALES OF THE HINDUS.

ylnstrations.

SUMPURNA THÁT.

(1)* RÁGINÍ DEOGIRÍ. . FIRST STRAIN.

SECOND STRAIN.

• The numerals given here refer to those of the scales shown under the heading " Sumpurna That" in the preceding pages.

THE MUSICAL SCALES OF THE HINDUS. 63

(2)

RÁGA PANCHAMÁ.

With D Flat.

FIRST STRAIN.

SECOND STRAIN.

64 THE MUSICAL SCALES OF THE HINDUS.

(8)

RÁGINÍ DEOSÁGA.

With E Flat.

FIRST STRAIN.

SECOND STRAIN.

THE MUSICAL SCALES OF THE HINDUS. 65

(4)

RÁGINÍ KALYÁNA.

With F Sharp.

FIRST STRAIN.

SECOND STRAIN.

I

66 THE MUSICAL SCALES OF THE HINDUS.

(5)

RÁGINÍ PANCHAMA-BÁHÁRA.

With A Flat.

FIRST STRAIN.

SECOND STRAIN.

THE MUSICAL SCALES OF THE HINDUS. 67

(6)

RÁGINÍ JHIJHITÍ.

With B Flat.

FIRST STRAIN.

SECOND STRAIN.

68 THE MUSICAL SOALES OF THE HINDUS.

(7)

RÁGINÍ SOHÁ-BHAIRAVÍ.

With D and E Flat.

FIRST STRAIN.

SECOND STRAIN.

THE MUSICAL SCALES OF THE HINDUS. 69

(8)

RÁGINÍ MÁLIGAURÁ.

With D Flat and F Sharp.

FIRST STRAIN.

SECOND STRAIN.

70 THE MUSICAL SCALES OF THE HINDUS.

(9)

RÁGINÍ KALIŃGARÁ.

With D and A Flat.

FIRST STRAIN.

b

SECOND STRAIN.

h

THE MUSICAL SCALES OF THE HINDUS. 71

(10)

RÁGINÍ ÁMRA-PANCHAMA.

With D and B Flat.

FIRST STRAIN.

SECOND STRAIN.

72 THE . MUSICAL SCALES OF THE HINDUS.

(11)

RÁGINÍ VALLARÍ.

With E Flat and F Sharp.

FIRST STRAIN.

SECOND STRAIN.

THE MUSICAL SCALES OF THE HINDUS. 73

(12)

RÁGINÍ PILU.

With E and A Flat.

FIRST STRAIN.

SECOND STRAIN.

J

74 THE MUSICAL SCALES OF THE HINDUS.

(13)

RÁGINÍ SINDHU.

With E and B Flat.

FIRST STRAIN.

SECOND STRAIN.

THE MUSICAL SCALES OF THE HINDUS. 75

(14)

RÁGINÍ KAUMÁRIKÁ.

With F Sharp and A Flat.

FIRST STRAIN.

SECOND STRAIN.

76 THE MUSICAL SCALES OF THE HINDUS,

(20)

RÁGINÍ DHÁNAŚRÍ.

With D Flat, F Sharp and A Flat.

FIRST STRAIN.

b

SECOND STRAIN.

THE MUSIOAL SCALES OF THE HINDUS. 77

(22)

RÁGINÍ YOGINÁ.

With D, A and B Flat.

FIRST STRAIN.

SECOND STRAIN.

---

78 THE MUSICAL SCALES OF THE HINDUS.

(25) RÁGINÍ BÁGÍSVARÍ.

With E, A and B Flat.

FIRST STRAIN.

SECOND STRAIN.

THE MUSICAL SCALES OF THE HINDUS. 79

(27)

RÁGINÍ GUJJARÍ.

With D, E Flat, F Sharp and A Flat.

FIRST STRAIN.

SECOND STRAIN.

80 THE MUSICAL SOALES OF THE HINDUS.

(29)

RÁGINÍ BHAIRAVÍ.

With D, E, A and B Flat.

FIRST STRAIN.

SECOND STRAIN.

THE MUSICAL SCALES OF THE HINDUS. 81

(32 )

RÁGINÍ TORÍ.

With D and E Flat, F Sharp, A and B Flat.

FIRST STRAIN.

SECOND STRAIN.

K

82 THE MUSICAL SCALES OF THE HINDUS.

(3)

SHARAVA THAT.

RÁGINÍ BIBHÁSA.

With F omitted.

FIRST STRAIN.

SECOND STRAIN.

THE MUSICAL SCALES OF THE HINDUS. 83

(14)

RÁGINÍ SUR-MALLÁRA.

With E omitted and with B Flat.

FIRST STRAIN.

SECOND STRAIN.

84 THE MUSICAL SCALES OF THE HINDUS.

(19)

RÁGINÍ SOHINÍ.

With G omitted and with D Flat.

FIRST STRAIN.

SECOND STRAIN.

THE MUSICAL SCALES OF THE HINDUS. 85

(37)

RÁGINÍ PURIYÁ.

With G omitted and with D Flat and F Sharp.

FIRST STRAIN.

SECOND STRAIN.

86 THE MUSICAL SCALES OF THE HINDUS.

(59)

RÁGINÍ NÁGADHVANI-KÁNARÁ.

With A omitted and with E and B Flat.

FIRST STRAIN.

SECOND STRAIN.

THE MUSICAL SCALES OF THE HINDUS. 87

(8) ORAVA THAT.

RÁGINÍ VRINDÁVANÍ-SÁRAŃGA.

With E and A omitted.

FIRST STRAIN.

SECOND STRAIN.

88 THE MUSICAL SCALES OF THE HINDUS.

(23)

RÁGINÍ HINDOLA.

With D and G omitted and with F Sharp.

FIRST STRAIN.

SECOND STRAIN.

THE MUSICAL SCALES OF THE HINDUS. 89

(27)

RÁGINÍ MÁLAŚRÍ.

With D and A omitted and with F Sharp.

FIRST STRAIN.

SECOND STRAIN.

L

90 THE MUSICAL SCALES OF THE HINDUS.

(88) RÁGINÍ DHABALAŚRÍ.

With E and G omitted and with D and A Flat.

FIRST STRAIN.

SECOND STRAIN.

THE MUSICAL SCALES OF THE HINDUS. 91

(130)

RÁGINÍ MÁLKOŚA.

With D and G omitted and with E, A and B Flat.

FIRST STRAIN.

67

SECOND STRAIN.

Printel by I. C. Bose & Co., Stanhope Press, 219, Bow-Bazar Street, Calcutta.

THE MUSICAL SCALES OF THE HINDUS. 93

IN the preceding pages have been given the Scales which are mostly in use in Hindu Music, and a few specimens of the Ragas which are composed on the basis of such Scales. In order to ascertain whether and to what extent Harmony is applicable to Ragas, it would be necessary to enquire into the principles underlying them, and with this view a brief account of the Hindu System of Music is given below. According to both ancient and modern authorities, the number of the principal musical Notes is seven, and these seven Notes go respectively by the names of Sharja, Rishabha, Gándhára, Madhyama, Panchama, Dhaivata and Nisháda, or as they are popularly known by their symbolic names, sa, ri, ga, ma, pa, dha and ni, corresponding very closely to C, D, E, F, G, A, and B of the European System of music. These seven Notes constitute a S'aptaka. European Musicians add to these the first note of the next S'aptaka and designate the series as an octave. They are found to use seven, eight, or more octaves on the Piano and some other instruments. But the classical authorities on Hindu Music used only three S'aptakas in their vocal or instrumental music, these being styled, Mandra (or Udara), Madhya (or Mudara), and Tara, (or Tard). Modern musicians, however, sometimes make use of four S'aptakas. The S'rutis are subdivisions of sound intervening the notes. They are twenty-two in number and are thus arranged :- Four in Sharja, three in Rishabha, two in Gandhara, four in Madhyama, four in Panchama, three in Dhaivata, and two in Nishada. In the arrangement of the Srutis, modern usage is diametrically opposite to the classical one; the latter placing them before the Notes to which they respectively belong, while the former fix their position after the Notes. Supposing a

94 THE MUSICAL SCALES OF THE HINDUS.

cypher to represent a S'ruti, the classical arrangement would be like thus :-

0000 000 000000 0000 000 00 ga ma pa dha ni.

The modern arrangement* is as follows :-- 0000000 0000 0000 00000 ga ma pa dha ni.

It is difficult to determine when or by whom the alteration in the arrangement was effected. The arrangement of the frets on the Vina and other stringed instruments accords with the modern acceptation of the principle .* It will be seen from a look at these instruments, that, in them Gandhara and Nishada, each of which has two S'rutis, and is called in European music a semi-tone, have, between themselves and the succeeding notes, half the space that is allotted to those having four S'rutis; and following the same method, Rishabha and Dhaivata, have, with reference to the next succeeding Notes, each a fourth less than that of Sharja, Madhyama, and Panchama (each of which has four S'rutis). According to a rule laid down in the classical treatises, the disposition of the notes is reversed in the case of Darave (literally, wooden, i. e., stringed) instruments, and out of this reversed arrangement, perbaps, the modern theory aboxt the arrangement of the posi- tion of the S'rutis has been evolved. According to the theory of the ancients, Sharja, Gandhara and Madhyama each constituted a Grama.+ In support of tbis, it is asserted that Sharjat is the principal Grama, inas- much as it is the principal note from which proceeds the recog-

Capt. Willard, Sir W. Jones, and other eminent writers, who hnd care- fully studied the principles of Indian Music and were practically acquainted with it, adopted the modern disposition of the S'rutis. t Grama, in Indian Music, means a series of notes arranged according to certain rules. Etymologically speaking, Sharja is that from which ahat ( i.e., the six notes) arise.

THE MUSICAL SCALES OF THE HINDUS. 95

nition of the six other notes. The Madhyama is declared a Grama, because the use of this note is never avoided in the Sharava* and Orava* Scales. Gandhara is deemed eligible to be taken as a Grama, because it springs from the celestial beings and is consequently a great favorite of theirs. The use of the Gandhara Grama is confined only to the celestial regions. Some writers, again, recognise Panchama as a Grama in lieu of Gandhara. Musicians of the modern day, as well as the author of the classical treatise " Sangita Sudhakara", however, recognise the Sharja of each of the three S'aptakas as a Grama. In justification of the view taken by them, they argue that it is useless to hold the Gándhára to be a Grama, since its application is utterly unknown in the terrestrial regions. As regards the Madhyama, they remark that the reasons for which the ancients styled it a Grama do not hold good in the present day, for there are in modern use several Ragas of the Sha- rava and Orava Scales, in which the Madhyama is strictly excluded, such, for instance, as the Bhúpali, Bibhasa, &c. According to classical works, the conditions of the three Gramas are as follows :- In the case of the Sharja Grama, the fifth Note (Panchama) should remain on its fourth S'ruti, and the sixth Note (Dhaivata), on its third, provided there are no alterations made in the arrangement of the S'rutis with regard to either of the notes. In the case of the Madhyama Grama, the Panchama should be on its third S'ruti instead of the fourth, and the Dhaivata, though including into itself the fourth S'ruti of the preceding Panchama, should remain on its own third,-the value of these two Notes being, of course, affected by the altered arrangement of the S'rutis. In the case of the Gandhara Grama, the Gandhara should take into itself the last S'ruti of the Rishabha and the first of the

For explanation of these terme Vide poste.

96 THE MUSICAL SCALES OF THE HINDUS.

Madhyama, and thus become a note consisting of four S'rutis; the Dhaivata should leave off its last S'ruti and take the last S'ruti of the Panchama, thus continuing to be a note of three S'rutis, (but not according to the natural arrangement of the S'aptaka) ; and the Nishada should take possession of the last S'ruti left by the Dhaivata, and the first S'ruti of Sharja of the succeeding S'aptaka, and thus become a note of four S'rutis. The following tables respectively explain the position of the S'rutis in the three Gramas as recognised by the ancient authorities. SHARJA GRAMA.

000 0 0 00 0 0 0000 000 00 o sa ga ma pa dha ni

MADHYAMA GRAMA.

000000000 0000 000 0000 00 sa ga ma pa dha ni.

GANDHARA GRAMA.

000000000 000 000 ni 0000 sa gu ma pa dha.

The ancients have divided the seven Notes into Prakrita or S'uddha and Vikrita. A Note is considered Prakrita when it remains in its own position in the order of the gamut, provided with the full complement of S'rutis assigned to it. But when, by leaving off any of its own S'rutis or by taking any Sruti which belongs to the note preceding or succeeding it, it becomes a note possessed of a less or greater number of S'rutis than that originally fixed for it, or by giving and at the same time taking a S'ruti, of the same number as it should possess, it is then called a Vikrita note. The Vikrita note again is subdivided into two :- viz, Chyuta Vikrita and Achyuta Vikrita. By the former term is meant a note which has been removed from its fixed hold on a Sruti; by the latter, one which, though retaining its own seat, becomes, by the process of giving away

THE MUSICAL SCALES OF THE HINDUS. 97

any S'ruti to another or of taking one from it, possessed of a less or greater number of S'rutis than that originally fixed for it, or by giving and taking one at the same time of the same number as is assigned to it. The number of Prakrita notes is seven, and that of Vikrita Notes, twelve. They are respectively shown as under :-- PRAKRITA.

0 0 0 0 00 0 0 0 sa ma pa dha

VIKRITA.

0 0 ni ni s 0 0 000 000 0 ga ga ma ma *pa 0 dha. Modern musicians, however, make up the number of Vikrita notes in a different way. They do so by making the notes Rishabha, Gandhara, Madhyama, Dhaivata and Nishada,-Flat or very Flat, and Sharp or very Sharp. According to them, the classification is as follows :- PRAKRITA. 0 0000 0 0 0 0 0 0 0 0 0 0 0 0 sa ga ma pa dha 0000 ni.

VIKRITA.

000000 0 ri ri 0000 0 0 0 0 ma ma 0 dha dha 000 ga ga ga ni ni ni.

We have briefly enumerated some of the principal features of the Notes. We shall now proceed to show their application to Rágas. A Raga is the succession of notes so arranged, according to prescribed rules, as to awaken a certain feeling of the mind. The notes essential to the composition of a Rúga are of

• The above shows 11 Vikrita notes only. But pa becomes Vikrita twice; once when pa is one S'ruti less in the Mudhyama Grama, and another time, when in the case of Madhyama Sadharana, Gindhira takes the first Sruti of Madhyama, and panchama, while standing on its 3rd S'ruti, takes the last S'ruti of the Madhyama. It should be distinctly remembered that the 12 Vikritas as shown above are made up by the Shurja and the Madhyama Gramas being put together.

M

98 THE MUSICAL SCALES OF THE HINDUS.

four kinds, viz., Vadi, Samvadi, Anuvadí, and Vivadi. In the opinion of both ancient and modern authorities, that note is called the Vadí, which, by the frequency of its application in a certain Raga, and by the length of its duration, shows to the best advantage the character and the living form, as it were, of that Raga. Hence the Vadi is called the Raja (king), that is, the principal note, and by Hindusthani musicians, the ján, or the life and soul, of the Raga. Any note lying with an interval of eight or twelve Srutis either in the ascending or descending Scale from the Vadi is called the Samvadi, or minister to the Vadi. The application of such a note is, of course, less fre- quent than that of the Vadt, but more than that of the other Notes. When, for instance, Sharja is the Vádi of a certain Raga, Madhyama and Panchama would be its Samvadis, as there is an interval of eight S'rutis between Sharja and Madhyama, and of twelve, between Sharja and Panchama. In the event of Rishabha being the Vadi, the Samvadis would be Panchama and Dhaivata; in the case of Gandhara, the Nishada only, there being no Prabrita note, with an interval of eight S'rutis between it and the Vadi; in the case of Madhyama, the Sharja only (there being no other Prakrita note meeting the conditions) ; in that of Panchama, the Sharja and the Rishabha; in that of Dhaivata, the Rishabha, and, in that of Nishada, the Gandhara .* The rules given above for

. The above is the result of calculations made according to the modern disposition of Srutis. According to the ancient method, the Samvadis would be as follows :- Vádí Samvádi Shurja Madhyama and Panchama. Rishabha ... Dhaivata. Gándhára Nishada. Madhyama ... ... ... Nisháda and Sharja. Panchama Dhaivata Sharja.

Nisháda ... ... ... Rishubha. ... ... Gandhara and Madhyama. It may be noted here that, according to the authorities, Nishdda cannot be Samvadi to any other note than Gandhara and vice versa. Madhyama, therefore, can have only one Samvadi, which will be Sharja, though according to the calcula- tions, it is shown to have Niaháda too for its Samvadt. Nishada will have Gándhára only for its Samvádt.

THE MUSICAL SCALES OF THE HINDUS. 99

the determination of the relation between the Vadi and the Samvadi in the case of Prakrita notes hold good with reference to Vikrita notes too. Some authors are of opinion that, except in the case of Madhyama and Panchama (these being imme- diately contiguous to each other), all notes having an equal number of S'rutis are Vadis and Samvadis to one another. An exception, however, is made in the case of Rishabha and Pan- chama, as these notes, though differing from each other in the number of S'rutis, do, as a matter of fact, stand to each other in the relation of Vadi and Samvade, when, upon the former (Rishabha) being made the key-note, the latter (Panchama) takes up the position of Mudhyama. The theory therefore re- solves itself into this, that a Note will find its Samvadi in its fourth or fifth or both, provided such Notes are admissible accord- ing to the character of the Rága. That note, the application of which in a certain Rága des- troys its character, is termed Vivadi, or the enemy. All notes other than those which have been characterised as above are called Anuvadis or subordinates. The relation of the notes to each other is strikingly illus- trated by the Sanskrit authorities in the symbolic classification made of them according to caste and color. Sharja, Madhyama, and Panchama, each of which has four Srutis attached to it, come under the Brahmana, or the highest caste; Rishabha and Dhaivatu (each having three S'rutis), under the Kshatriya, or the next class; Gandhara and Nishada (each having two S'rutis), under the Vais'ya, or the third class ; and the Vikrita notes, (i.e. such notes as have fallen from their former position), under the S'udra, or the lowest class. The names and nature of the colors attributed to the Notes are very nearly the same as given by Mr. George Field in his work styled " Chromatics : or the Ana- logy, Harmony and Philosophy of Colors." They are given in juxtaposition as follows :-

100 THE. MUSICAL SCALES OF THE HINDUS.

Names of the Color according to Sanskrit Color according to Notes. Authorities. Mr. Field.

Sharja. Black. Blue. Rishabha. Purple. Purple. Gándhára. Golden. Red. Madhyama. White. Orange. Panchama. Yellow. Yellow. Dhaivata. Grey. Grey. Nisháda. Green. Green. By means of colored diagrams, Mr. Field lras illustrated the analogy of the Definitive Scale of Colors and the gamut of the musicians. Any one acquainted with both music and painting will not, remarks Mr. Field, " find it difficult to carry these relations into figures and the forms of science universally. And as the acuteness, tone, and gravity of musical Notes, blend or run into each other through an infinite series in the musical Scale, imparting Melody to musical composition, so do the like infinite sequences of the tints, hues, and shades of colors, impart mellowness, or melody to colors and coloring. Upon these gradations and successions depend the sweetest effects of colors in nature and painting, so analogous to the melody of musical sounds, that we have not hesitated to call them the Melody of Colors." Mr. Field has gone into details on both the melody and harmony of colors and in music, but those details are omitted here as being too lengthy for, though not foreign to, the scope of the present treatise. It would be suffi- cient for the purposes of this book to observe that the Sanskrit authorities on music recognized the analogy, and were perhaps, to some extent, guided by it in the determination of the concords and discords of Notes. We now come to the examination of the essential conditions according to which the Ragas are composed and performed. Each Ruga is divided into four parts or strains ; the lst being called the Sthayt, the 2nd-the Antara, the 3rd-the Sanchart,

THE MUSICAL SCALES OF THE HINDUS. 101

and the 4th-the A'bhoga. The Ragas are divided into three kinds; viz., (1) Sampurna, or those in which all the seven notes of the gamut are used; (2) Sharava, or those in which only six notes are used; and (3) Orava, or those in which only five are used. Each of these three classifications is sub- divided into three. These are (1) S'uddha (i.e., pure), or those which show the character of only one Raga; (2) Chhayalaga or Salanka, or those the composition of which partakes of the nature of two Ragas artistically blended into each other; and (3) Sankirna (i.e., mixed), or those which are a mixture of three or more Ragas. The Six Original Ragas" are the only instances of the S'uddha class. These are known by the names of S'ri, Vasanta, Bhairava, Panchama, Megha and Nata-narayana. Three of these Ragas are noted below :-

S'RÍ.

FIRST STRAIN.

The Six Principal Ragas are called the Ragas proper. The mixtures are called either Ragas Or Ragints.

N

102 THE MUSICAL SCALES OF THE HINDUS.

SECOND STRAIN.

---

MEGHA.

FIRST STRAIN.

THE MUSICAL SCALES OF THE HINDUS, 103

SECOND STRAIN.

---

NATA-NÁRÁYANA.

FIRST STRAIN.

104 THE MUSICAL SCALES OF THE HINDUS.

SECOND STRAIN.

The mixture of two of the Six Original Ragas with each other gives birth to the Salanka Ragas. The mixture of Megha (otherwise called Mallara) with Nata-narayana has produced the Raga named Nata-Mallara, of which the following is the form :-

NATA-MALLÁRA.

FIRST STRAIN.

1

2 3 5

THE MUSICAL SCALES OF THE HINDUS. 105

SECOND STRAIN.

6 7

7

7 8

9 10

A mixed Raga has a character of its own exclusive of that derived from the combination of two distinct Ragas. In the Sálanka Rága noted above, the passages marked 1, 3, 5, 6, 8, 10, partake of the nature of Megha, and the other passages represent Nata-narayana. The admixture of three or more of the Original Ragas, or of any two or more of the Salanka, or a combination of both, called into existence the Sankirna Ragas. The blending of S'ri, Megha, and Nata-náráyana, for instance, produced the Rága named Kamoda of which the notation is given as follows :-

106 THE MUSICAL SCALES OF THE HINDUS.

KÁMODA.

FIRST STRAIN.

1

3 5 2 4

5

SECOND STRAIN.

6

6 7 8

8 9 10

THE MUSICAL SCALES OF THE HINDUS. 107

11

In the above Rága the passages marked 1, 3, 5, 7, 9 and 11 represent Megha, those marked 2, 6 and 8 are derived from Nata-narayana, and those marked 4 and 10 partake of the cha- racter of S'ri. Most of the Ragas are so constructed that, while in the ascending way certain notes are avoided and others slightly dwelt upon, those notes are respectively applied and used in a distinct manner in the descending process. It is not necessary that in the performance of a Raga the Notes should be used in & graduated series. They are generally used in a mixed manner. Neither is the duration of the Notes nor their number uniform. Their variety adds not only to the grace and beauty of a Raga, but is essential to its individuality and character. Then, again, a certain Raga is made manifest with the Murchchhana* peculiar to it, without which its development is considerably affected. The observance of the foregoing rules, which are some of the many attached to the execution of the Ragas, enables one to perform a piece with precision and with regard to the integrity of its character. Any breach of those rules conduces to the marring of the effect of the Ragas and to the mutilation of the form with which the authorities have clothed them. It is needless to mention that it is only at the hands of skilful musi- cians who have carefully studied the principles that justice is done to the character of the Ragas.

. Murchchhana, in the modern acceptation of the term, means the extension of a note to another in the ascending as well as the descending scale without any break in the arrangement of the intervening S'rutis.

108 THE MUSICAL SCALES OF THE HINDUS.

It is almost generally complained by European musicians that Hindu Music is not perfect, because Harmony is not applied to it. Some of them despise the music of Hindusthan, simply on this account; others very kindly offer suggestions as to the feasibility of harmonising it. A careful consideration of the method in which vocal and instrumental music is per- formed in this country cannot but lead one to the conclasion that Hindu Music is not altogether devoid of Harmony, though this Harmony may not be the same as that by which European musicians understand the term. The use of the S'resthalankara (a kind of musical grace) on the Vina, Setar and some other stringed instruments, the singing in chorus by boys and adults in melo-dramatic performances, the tuning, in some instances, of the drum instruments Mridanga and Tabla &c. to the fourth or the fifth of the key-note adopted by the vocalist or instrumentalist whose performances these pulsatile instruments are intended to accompany-all these facts, and others, tend, in some way, to show that the principles of Harmony are not alto- gether unknown to the musicians of India. Besides, certain treatises* on Indian Music have dwelt upon this theme and laid down certain rules for the safe application of Harmony. But the use of Harmony, as defined therein, would not, it is feared, come up to the standard aimed at by the musicians of Europe. The spirit of Indian Music is against the adoption of Harmony in the European import.t The Raga is essentially melodic in its character-it is a succession of notes artistically

" Mention is made in the classical works of an innumerable variety of the permutation and combinntion of sounds having formed the subject of study with the Musician. It is further mentioned that the sage Narada had learnt of Uluka a large number of tonal combinations. + Capt. Willard, who had a practical acquaintance with the subject, makes the following remarks in his "Treatise on the Music of Hindusthan :"- "Indeed so wide is the difference between the natures of European and Orfental Music, that I conceive a great many of the latter would baffle the attempts of the most expert contrapuntist to bet a Harmony to them, by the .xisting rules of that science."

THE MUSICAL SCALES OF THE HINDUS. 109

so arranged as to produce a certain effect, differing in the mi- nutest particulars from that derivable from another Raga. The two Sharava Rágas, Bibhása, and Bhúpáli, for ins- tance, are very much like each other in character, but the per- mutation and the duration of the Notes applicable to them constitute a wide difference between the two as the subjoined illustrations will show :-

BIBHÁSA.

FIRST STRAIN.

SECOND STRAIN.

0

110 THE MUSICAL SCALES OF THE HINDUS.

BHÚPÁLÍ.

FIRST STRAIN.

SECOND STRAIN.

It will be seen from the above, how the two Ragas differ from each other in essential particulars. The tunes that may be composed out of these must necessarily partake of the difference. Two tunes composed of Bibhasa and two of Bhupali are given as follows by way of example :

THE MUSICAL SCALES OF THE HINDUS. 111

BIBHÁSA. (Tune 1.) Tála -- Madhyamána. FIRST STRAIN.

SECOND STRAIN.

BIBHÁSA. (Tune 2.) Tála-Madhyamána. FIRST STRAIN.

112 THE MUSICAL SCALES OF THE HINDUS.

SECOND STRAIN.

BHÚPÁLÍ. (Tune 1.) Tála-Madhyamána. FIRST STRAIN.

SECOND STRAIN.

THE MUSICAL SCALES OF THE HINDUS. 113

BHÚPÁLÍ.

(Tune 2.)

Tála-Madhyamána.

FIRST STRAIN.

SECOND STRAIN.

114 THE MUSICAL SCALES OF THE HINDUS.

Two Ragas which are played on the same That (Mode) may be so constituted with reference to the permutation of the Notes, that one will widely differ from the other in character. The Ragas Lalita and Purabi, for example, are played on the same That, viz., D flat, F, and F sbarp, and yet owing to the peculiarity in the arrangement of the Notes with regard to their ascension and descension, the former has been classed under the group performable in the morning, and the latter under that performable in the evening. . The two Ragas as noted down below will show the points of dissimilarity :-

LALITA.

FIRST STRAIN.

SECOND STRAIN.

THE MUSICAL SCALES OF THE HINDUS. 115

PURABÍ.

FIRST STRAIN.

SECOND STRAIN.

116 THE MUSICAL SCALES OF THE HINDUS.

The illustrations given before will, it is hoped, show the nature of the difference that exists between one Rága and another, and it is by the drawing of these niceties that an end- less variety of Ragas has been composed out of the mixture of one with another. Now, these niceties it would be next to impossible to observe, if an attempt to improve upon the com- positions be made, by the superaddition of any Note or Notes foreign to its nature, by means of Harmony which is a combi- nation of Notes. The combined sound of the first and the fifth, for instance, would be a chord, and this combination (which is a stranger to Indian Music and, as a sound, not recognised by it), when tacked occasionally on to a melodic piece would certainly destroy its character as a Raga, and would render the whole thing not only un-Hindu Music, but a perfect babel of foreign jargon. The outlines of the principles of Indian Musie given in the preceding pages show the intricacies of the system, and should efforts be made to introduce Harmony into Indian Music, without due care and attention, the effects on its integrity would be simply disastrous. For, to steer clear of all difficul- ties, one will have to see that the Notes inimical to the charac- ter of a Raga are avoided, that such Notes which should net be used in the ascending or descending proeess are not so applied, that the rules observable with regard to the application of Notes in a mixed Rága are not infringed, that a Note is not pro- longed further than is necessary, that a Note or a series of Notes expressed by means of the Murchchhana are not sounded individually and in a detached way,-and so fortb. Hindu Music abounds in many Ragas, such as Kanara and Gonra, with complicated Murchchhanas, and others, like Gaur and Multaní, wherein the third or quarter tones are used, the nature of which would not admit of their being transcribed according to the current system of European notation or of

THE MUSICAL SCALES OF THE HINDUS. 117

being correctly rendered on such European instruments as the Piano or Harmonium, *- far less harmonization. A few Rágas of a simple character might be set to Harmony. It is necessary to observe that the application of chords on the Melody is out of the question. On the Piano and similar instruments, simple chords with the left hand might be judiciously attempted. Sharja (C) and Panchama (G) might be alternately made to accompany the melody, with the left hand, provided Panchama is admissible in the Raga; otherwise Madhyama, when it is the principal note in the Raga,may be used. But the alternate use of two or three notes would not do away with the monotony, which Harmony is clearly intended to . obviate.t It would seem, after all, that the difficulties in the way of harmonising IIindu Music are by no means few or small. Nothing but a compromise can solve the problem. Let the European musicians modify their rules of Harmony so that it may be applied to Indian Musie with the least ininry to its integrity, aad ivt atso one Hindu musicians relax the stringency of the rules with which their Music is bound hard and fast. Unless both parties are prepared to make concessions, it would be futile to engraft Harmony on Indian Music. The parties to

• In a supplement to this book will be found a comparative drawing of the Sharja Grama and the European Diatonic Scalo, as exeeute.l for me by a European friend. If I understand the subject aright, the difference in the intervals of the two Scales is a stumbling block to the correct rendering of the Indian notes on such instruments having fixed keys as the Piano and the Harmonium. The difficulty of playing Hindu Ragas or tunes on such instruments may well be imagined, and how far the plan of harmonizing them may be affected thereby, I leave it to the thoughtful musician to determine. t In the absence of a thorough knowledge of the principles of Harmony as recognised in European Music, I could not take upon myself to give an illus- tration of a Harmonised piece of Hindu Music. But I have no doubt that some expert contrapuntist will be able to furnish one on the lines indicated.

P

118 THE MUSICAL SCALES OF THE HINDUS.

the compromise should be such persons only as are thoroughly conversant with the music of both Europe and India, for while they apply Harmony, they should be bound to see that they give the least offence,-for offence they must necessarily give,-to the ear of the people who have cherished with pleasure and pride a form of music which, it is traditionally believed, has come down to them from the heavens, or at any rate, from time immemorial, from their fore-fathers-the Aryans of learning and fame-the early pioneers of civilization in the land of the rising sun.

THE END.

Printed by I. C. Bose & Co., Stanhope Press, 249, Bow-Bazar Street, Calcutta.

• • [Supplement to "The 1 cales of the Hindus."]

• THE SHARJA-GRAMA AND UROPEAN DIATONIC SCALE,

(i) One octare of frets of the Primitire Sanskrit Sharjar 90 inches from C to C.

C G B D E F 1D

134 inches. 10g inches. 6 inches. 20 inches. 16 inches. 9 inches. es. 12 inches, 12 inches. (1I)

D E G

(ii). European Diatonic Scale.

To form the Primdir Smshrit Skar lida on the open wire of the Setara.

(IIT) Diside the whole string into two equnt parts in F (2); and CDEFGABCEF 1 4 10 6 2 8 11 9 5 7 3 Dicide the right half into two bulres at F (3). Diride the whole string intu fhree equal parts at C (4) aod C F5). Then :",ill be ezactly in the mniddle between C and C.

Divido tho C string ifeom 4 to s) into 5 equal rart one-fifth from C (e)

Dirnle the C stuing (from 4 to s) iuto three ental paits, a e G (8) me-thrd o

Diride the G strng (from S to s) iuto 5 eyuil parts, aunl take B to thô zn

Duvde the epace from C (4) to C(5) iuto three eynal parts, D (10)) oue-t8 Diride the space from G (8) to x into nine equa' parts, and tke &111) une-unthm hg ne of G f8l. To form the lower octave of each note double the distance from the r. The moderu Bengali rule of ihridug C-E iuto aud F to C muto 13 parts is not d fadyase os may be caleulstedd fiom No. (1).

C D E G B Accurate division of wire of Sharja-gráma,

20 incbes. 16 inches. 9 iuches. 15 inglies. 10g inckes. | 6 iuches,

20 inches, 15 inches. 10 inches. 13 inches. 10g inches. | 64f inches. Modern dirision of the wire.

C D E G B C

ERRATA.

Page. Stare. Corrections.

103 5 All F's from the 12th Note should be Naturals.

104 Ditto ditto 14th ditto ditto.

106 Ditto ditto 12th ditto ditto. 21 2

107 1 Ditto ditto 1st ditto ditto.