1. Oriental Music in European Notation Chinnaswami Mudaliar A.M. 1893

N HONOUR OF HIS HIGHNESS THE MAHARATA OF VIZIANAGARAM.

Ragamaltra in 16 Ragas. KAMINCHINA KALĀVATIRĀ-(Continued.) Subbarama Dikshita.

Avaro.

RAGA-MOHANA UPANGAM

(Sa gu pu dhi sa.) (Sa dhi pa gu ri su,) 2.5 இராகம்-மோகனம். கு உபாங்கம்.

HA-NA en- cl

மோ Svaras

Ka .. gani kalavaļman di ka lagu ka lakan-țichanumonalanțikala ra - va ga ļa ra-va me san - ga-pu-la ka le ga ya-nanagiponugi (Adiu

-வ்ளரிகளவளமந் தி க -லகு கலகண்-டி ச-நமரனலண்டிக-ல ர- வ க ர -வ மெ-சங் பு-ல க லெகய- கன-கிபெனகி (த

Avaro.

RĀGA-VASANȚA BHASHANGAM.

(Rasaguma Jhanusa) (Sanudhanudhamagumamapamagurasa

ரகம்-வாந்த. (ர சகு மதறுச) (சநு தது த மகும ம் கு ர ச.) பாஷாங்கம்.

Sri-man tu ka vi - vana VA SAN TU Sri GA - JA - PA - TI KSHI-TI PA-TI ra kshin - chu Sr X

ஸ்ரீ - மக் வ- ரந்து ஸ்ரீ க - ஐ - ப. -. தி கஷி -திப -தி கஷிஞ் - ச Svaras.

म -c- -d-

12 PA-RTHASA RATHI A - ryd mo - da ka - ru - dai · khi dha sha ku dui

• யர மோ. த க - ரு - ட பே

5 22 Ra - ja ra - ja sa khu-dai sar a- guu-dai vi - la - si - lu PU-SA-PA-TI A-NANDAIGA-JA-PA-TI

¥3 31 ரர்- வ-க்லு.டை மி-ல-சி-வயூ ச.பா.டி ஆ.நந் தக ஜப கி

KSIITI-PA.TI RAKSHINCHU SRI PARTHA SA RATHI.

கஷி - தி-ப-தி ர -கரிஞ்சசு ஸ்ரீ பார்-த்த - சா-ர -தி.

IN HONOUR OF HIS HIGUNESS THE MAHARAJA OE VIZIANAGARAM.

Haguml;kn in 10 Hlagns. KAMINUHINA KALAVATIRA-(Continued .; 60 Sibarama Dikshita.

Af er this follow three ingonious combinations of இதன்பிறகு ஒவ்வொரு இராகத்தின் ஜிவன் BAGAs. which ure very olegant, being confined to short pitby phrasna, which roproduce the full lite und cesonco லகஷணம் முழுமையும் நிஜசொரூபமாய் ஒரே ஆவர்த் of each KAGA, witbin the limited space of a oiuglo AVARTA நத்தில் காண்பிக்கும்படியான இராக சேர்க்கைகள் மூன்று வருமாறு. i .. In the firat pilnce, the above 16 RAGAS ard enker in iu,erso order, straight down, aa printed on thu i. இடதுபுறர்திலுள்ள வரிசைகளை வசந்தம் left haives of papes 7 and 3 up to 1. KALAVATI, nod to torie i endy with the opening pbrane KAMINCHINA முதல் கலாவதிவரையில் தலைகீழாக ச்சிட்டிருக் EALAVAT. HA. In this series tho worde incorporate not கிறபடி பாடி காமிஞ்சின கலாவதி சதிததிரா tho, nares of the RAGAS. in which they are eung bup thoee of a now series which appears on the tight halve யென்று முடிக்கவும். of thoso pagea. ii. பிறகு மஹராஜாவிடைய பெயர் ைந்தி i1. Then tho wholo pation In RAGA XVI. VASANTA, wi h tho naie of lis Highneas tho Maharnja ருக்கும் வசந்த இராகம் முழுமையும்பாடி வலது is repented, and the secund series of RAGAS Nos. 17 to புறத்திலிருக்கும் வரிசைகளை சாவேரிமுதல் கேளர். 32 is u ken up sith the tate words as beforo but with Music in the RGAS whose names are incorporated in வரையில் முடித்து இடதுபுறத்திலுள்ள சலாவதி tbe words. After No. 32 should bo repeated, tho short ண்டையும்பாடி முன்போல் காமிஞ்சின கலாவதி strain in 1. KALAVATI on tho left and-then tho openir ; : braso KAMINCHINA KALAVATIRA. ** *கிதிததிரர யென்றுபாடி முடிக்கவு. iii. மறுபடியும் மளராஜாவினுடைய பெயர் . Ti. The passage in VASANTA with His Highness' name ie ropeuted a third time, and these short variations அமைந்திருக்கும் வசந்த இராகத்தை முழுமையும் in digerent RAGAS, aro combined and takon up'alter- natelr it parallel lines, r.g., No. 17. aind 16, 18 and 15 பாடி இரண்டு வரிசைகளயும் நேர்நேராக சாகித்தி 19 anu 14 20 atd 13, aud an forth down to the end Nos. 2 nd Uiu TALAVATI, when the whole cluses with tho யப்படி வலலம் இடுமாக மாறிமாறி கலக்பாடி opealn, ecait an befure, கலாவதி ** கீதீததிரா யென்று முடிக்கவும்.

HÃC: -YASASIA. HAGA-SAVERI

16. Mana-Sa - ve - reo-chadu ra Maua-Sa-ve-ren-chadu - rã 17

மன -சா - வே-ரெஞ்- ச-து-ரா மன - சா -- ரெஞ்-சது - ரா இராடு

RAGA-MOHANA RÃGA- K

Ma ra- vaKu ranjin - chumu-ra Mara-vaKu-ran - jiu - chumu-ra 18.

இரகம்-மோகனம். - บัง สม -"0" ம ர- வது பஞ் சிஞ் - சுமு -ரா இராகம்-ம மர - வகு - ரஞ் - சிஞ் - சுமு -ரா

RĪGA-SAHĀNA. RÀGA-SĀRANGA.

Ma-na Sa rangada - nupa - ra 19.

இராகம்-ஹான. Mana - Sa - rangada - nupa - ra :0ல-380.

இராகம்-சாரங்கம். ம-னசாரங்க த-ுப - ரா மன - சா - பங் கத - னுப- ர

NAGA-YAPI. RĀGA-KALYĀNI.

Mada - vati Kal- ya- ni - ra Madavati Kal-ya - ni - ra 20.

மத - வதி. கல்யா.ணி - ரா மதவதிகல் -யா -ணி-ரா இராகம்-கல்யாணி.

Vani - tuKambhoji- yau-rā 21. Va - ni - laKam-bho - ji - yau-ra

த காம் போஜி-யெனரா. இராகம்-சாம்போழி. -வி- த காம் -போ-ஜி - யெௌரா

RAGA-KAMAS. RĀCA-FANTUVARAIA.

-.- VaraPan-tuva- ra - li rá VaraPantuva-ra-li - ru

பர பந்து

IN HONOUR OF HIS HIGHNESS THE MAUARAIA OF VIZIANAGARAM.

Ragamali in 16 Ragas. KĀMINCHINA KALAVATIRĀ-(Continued.) 161 Subbarama Dikshita.

RAGA-KEDĀ AGAULA HAGA-ĀRABHI.

Chanuy A rabi - ru - duli ChanuvA-rabi - rudu ,23

இராகம்-ராபி. 10.

வா- ரபி

RAGA -SĂMA. 34. Ja'- na-y Ahari-madhya-ra (இரராம்-சாம, Ja- na- yAhari - ma - dhyara Dolcissimo. இசாகம்-கரி. ஜாண-யர்-லரி - மத் - ஜா -- யா ஹரி - மத்

RAGA-VARĪĻI E-btr RĀGA -- GAUĻA.

ChanaGaurava-mugala di- ra GhanuGaurava muga - ladi - ra 25

கன கௌ ரவ இராசம்-கெளளை.

DRIKA.

Kar - Na-tari - bbuvi- nuta . ra WarNa tayi-bhu - vi - nuta - ra 26

இ.ாகம்-நாடை. A.nd.

(RİGA-ŞAN RGA-YAMUNA. CIO Maua - vini - priYamunavina - ra Man .priYamunavi-na - ra 27

மன - வினி- ப்ரிய மனவின-ரா. னவி-ன இராகம்-யமுன. மன

RÁGA-PADL

Magn Padi-gala - chatura MaguPadi - gala-chatu-ra - ra இசாகம்-பாடி. 28.

மக பாடி.

RAGA-MANOHATI RAGA- NÂYAKI.

Manu- na ta - ni Na-yika - ra arrab-uurral. Man 29 a ni Na yika - ra இமாகம்-நாயகு.

RĀGA-LALITA.

Madhurasa Lali tavachanara Madhu- raso - Lali-tava-chauara 30.

RAGA -PARUZU.

Manu Paru - juga- lata runi- ra Mann-Paru - juga - lata-ruipi-ra 31

மு - பரு

(KAAGA-KALAVATL RAGA -- GAURI.

32. 1 MauliGaurini lupu - sati - ra MadiGau - riui - lupu - sati - ra

மத் கேள- ரிப GRAN Ten end with the opening struis KANINCHINA KALAVATIRA . . . KIDITEDIRA .D" 1. KALAVATI

BAGAMALIRAY BIN HONOUR OF 1628

IIS IIGHNESS SRI PADMANABUA DASA VANCHI BALA

SRI RAMA VARMA KULASEKHARA

KIRITAPATI MANNEY SULTAN MAHARAJA RAJA RAMARAJA

BAHADUR SHAMSHER JANG G. C.S. I.,

MAHARAJA OF TRAVANGORE.

Nine RAGAS. School NI SARI LERANI. ( Music & ) Subbarama . No. Dikshitar. L words by (185.) கவரொகங்கள். .II 8 ล . f Count by Met = 144. TĀLA -- RŪPAKA. 2+4=G Quavers.S நீ சரி லேரனி. S Stylo of Mistoso .நாளம் -- குபகம். execution. dolcissimo. RĀGĀNGAM. இராகாய்கம்.

(RĀCA-KALYĀNI -0- H

Ni ni-tyn KAL-YA - NI ya - di - ru

(Aro.Sa ri gumipadhinusa.) ணி ய-

(Ava.Sanidhipamigu ri sa) Sri ve-IayagapremanuNAVARATNAMALYAwaugimammanugayikommaneniuonam - mi - uu kom . ma Yr di - ri

(அவ.ச நி திப மிகுரி ச) ஸ்ரீ வெலயகப்ரே மனுந-வ - ரத்னமால்யமொசங்கிரம்-மனெ கயிகொம்மனெநிலாம் மி-னயொ -ம்ம(ய-தி-ரா

BHĀSHĀNGAM. பாஷாங்கம்

CRA IA -- KAMASUT.

(இ.கம்-கமாசு.

CA MASU-dn - ti - jmi lun

(AroSa :_ agnan padhini sa) ரு ம ரூ" -லஞ்

62. • บัง - ตอง - ซว (AvaSan:dhipa magu ri sa.) Ni suyunamuln-nupogadu ma-nininena rumara va-ku-mama nasamuna(ma - ru - lun - chu-mu- ra

(அவ.ச நிதிப ம குரி ) நீ சருணமுல-னுபொகடு மா-நி-னினெனரு ம ர-வ-கு - மா மான-சமுன(ம - ரூ.ஞ்

BIÄSHĀNGAM. பாஷாங்கம்.

RAGA- BEGADA. III. (இராகம் -- டகட.

Ni - - sa-mu-kam BE - -GA-DA ne- la - ta ju - da-ka nuu da-du -

( Ari. Sagu rigu mapailbipaen.) தஜூ -

Ava. S& nu dhi ph mna ;u Ni rajapadavadananayunani radasadrusa chikura tapn i - ya ka ma oni yaghanun : yi - ka (yunda-dử

B ரஜபத வதநாயநநீ தத்ருகசிகுரததீ - யகம்நீகன -

163

Ragamalikn. In honour of His Highness the MAHARAJA of TRAVANCORE (Continued.) Subbarama Dikshitar.

BHASHĀNGAM. பாஷால்கம்.

RAGA-MAKUVA. IV. இராகம்ட-மாருவ.

Yi- su ma-uaMA - RA VA - ri - yim - pa - nou-chi - thin - chu -nu

(ArG. Sagumapadhr mapauusa. ல- ம .- மா வ - யிம் னென்சி

.2சகுமப

(Sanadhapaguiag asaraguruka PuraharaGuruguhavidihari - haya su-ra vara nuta mura ha-ro - sa - muja varn . da-ynknyn-ii (n - thin - chu-nu

புரஹரகுருகுவித்ஹ-ரி-ஹ-ய சு- வமனுத முர ஹ-ர - சா-மஜவ-ரதா-ய-க-யனி (னு -தின் .- சு-று

UPĀNGAM. உபாங்கம்.

இராமம -- பள்ும்

Ga -si di IAMSA. gamana ga -, chi yun

(Aro.Su rimJba ahi sa

(AvaSanidhipa magari sa) Aļi pikaşukanikaranina damulanepudusaișadura balusa ha sa na ka-mini (yun na - di

(அவ, ச கிதிப ம குரி ச.) அளிபிக் சுகனிக ரனினா தமுலனெ புடுசை சதுரா பலுசா ஹசான கா-மினி (யுன்

BIASHĀNGAM. பாலஷாங்கம்.

12 Va - si - kek - ka - va - le-na-ni ma-gu - A SAN - TA - ta- mon chi - nn - di

(Aro.Ra'st rum. dhantsa.) வா - சி - - லெந -நிம -கு - - த-மெஞ்

(ஆ. ரசடும ததுச.)

0.8 3.0 Kunduradanamandahasana sun-da- ran- gi yan-dn-mon-da . ni. nu (sau' ta .ti men chi-ta . di

0-5-8 (ஆ.ச அதறுதமடுமமபமடரன) கு்-தரதமந் தஹசன் சுந்த-ராங்கி யந்தமொந்த-னி-னு (சந் த - த மெரு

BHÃSHANGAM.

VII சரகம்-யமுள

YAMUNA

(Aro.Sarigu pamipadhisa-)

(ட்.ச ரிருபமிபதிச.)

(Ava.Sandhipami risa) Murunduchil:ka - to - ji nek-ki ro-velungu to dn - ra bedarijache-nu-ru(yu . la-vi-g ல0ஸ் 0 .. 3-2 3-31 83 0 84- 244 3 8 -a ம.ருண்டுசில்-க தே-ஜினெக்க ரேவொும்கு ரோட- ரா பொரிசததிச-னு-ராய

MELA-IARIEIDARAGAUI.A No. 28. PARTHASARATHI. Music Subbarama and Dikshitar. மேளம் ஹரிதோர்கெள்ை ( words by (1874.)

BAGA-YERUKULA KAMBODI. ( Count by Mot o 144. ONO. (BUABHANGA.) 164 Quavors. இரொகம்- ஸயெருல காம்போதி.

CTALA-ADL. 442+2=8 ர் த்தசார தி. S Style of Mwstoso o

தாளம் .Crotchots. (exocution. devotamento.

Sarimspadhinidhipndhisa Sa nidhipemagurin. pa dhi sa. (Pal.) PARTHASA - RA - THI ( 5 ) ச ரி மப திமிதிபத்ச எ நிறிபமகுரிச ப தச. u. பார்த்த

PAR-THA - SA THI vim pa

பார்- த்த

IV

par-thu - 8a hi - ye parthasa thi yu

8 - யே பார்-த்த-சா

Fin.

(Anu.) - Par-thi - va na - ni - pu kru

Par-thi-va na cha-ra srI (Cha.) Kari -gu - va di ( ₺. )

க- ரி-கா

E.a - ri - mo -da ga ma Kari - drun chi brō chi-na pu du 40 -٥

க -தருவு சி-ன

Nar dã mo - ra- la Naruda Naru-tal mi bro-chu-man -Naru . sa

• ரு- தால் : மிட்ரோ-கு-மன்

Sara-r Sara dhi chi Sara - dhi - gar

va. ba - ra dã Sa- ra - dhi - ga - da Pa-ra - ma-bhak -tu - la - kt-ha Paramahi- ma - lo -sn -

ப-7 -ம-ஹி - ம -லொச - க S. R .- Sotice the freggent introduction of SVARAKSHAILAS in the SAHITYAef this picce, an at tho very canmoncement (PA, THA, SA; G. A. C.) nud the numeroue erratios it the CHAEA :: , wuere KARI, NARU, SARA & PARAMIA eeccr 4 times and GURU, the crowning family seal, is introduced & times, with diferent menuinge.

KAGA-Yerukula Kambodi. PARTHASARATHI (Concluded.) Subbarama Dikshita.

-6 -- 0- Paramada ma-na -chi - na Gu-ru ku-chabāraya gurukinaņimanasu

L1 - 3 -10 -5

Gurute rugu maru - ni Gu-ru-vu ga-da Si- va Guru gu-ha bhudh Guru - niu-ta SubhabhaGuruphalada-mu - Ia

ட-நெ-ரு-கு ம-ரு -னீ கு ருகு ரு- கு - ரு. ப-ல - மு -.

F Guru- vu ga - da Tat- ta - yya taka ri sa nidha taka jham gu ri taka jhaņ riga tak:

8 C

iham ta r pupa dhadhn tadhimi taki ta mu pa dha tadhn nata nidhapa mapadha tadhinu sa sa ri ri tajhamta mapama

மி தகிட 6த மப த தீனு ச சரி ரி' தஜம் த ம பாம

elhatadhimitakina sarimnngatakita jhom ta sunida kun ta pamagn ta dhin nan Fisani ankn tadhingi

CA க திகி மப த ததத்மிதகிண ச ரி மகதகிட ஜம் த சநித குந் த பமகததிளனன் க ரிசநிதக ததிங்கி ணரேோம்.

TANA VARNA composed at the request of

RAJA VARAGUNA RAMA SANGILI VIRAPPA PANDIYAN

ZCMINDAROF SIVAGIRL

(REGA-YERUKULA KAMBODI.) SRI RAJIVATCHADI. Count by LMfet . =144. இமகம்-யெருதல் காம்போதி. S ( Quavers. )

TAĻA-AȚA.

Crotchets. ராகிவாகஷாதிஃ ( Stylo of ) exedution. Energico. (1892.)

1

,3 12 (Pall.) Sri ji - va tcha pa ri - pa 1

L1

Sri V:L nu - ku

(Anu.) Sri dvi-la

12

7.8 · sri Varagu - naRa- ma San- gi - li Vi. rap - pa Pan - dyu

வ-ர-கு-பா -. ம சங் - க- லி

'lcakarta No. 15 .- Mayamalara ganls) SARALT VARUSAS.

(Cள :: த1,-மாயாமாளவளை Met. . == 76. ¥3 12 rhtaga .- Do. Sampurgg.

இராகம் .- Do. சம்பூசனம். Style of ereention.

CTala .- A di சரளிவரிசை. Ropent each exereise fonr' times (in tho 'four kalas), donbling .h.

காலம்&தி. ( GAMUT EXERCISES. ) speed each time as shown on this page for the first exercise.

EXERCISE NO. I.

I. FIRST DEGREE OF VELOCITY (PRADHAMA KĀLA.)

முதற்காலம்.

AROHANA or Ascending soalo-Ono ūvnrin. AVAROHANA or Desconding senle-Ono iwvarta. அாற-25 முறதால. ரோயணம்-ஒரு ஆவர்தம். அவரோகணம்-ஒரு ஆவா்தம். Fin

SÃ RI GÃ MA DHA NÍ SÃ SÃ NI DHÃ PÃ MÃ GA RI S.

7 307 87 7 சா. ரி கா மா பா தா நீ சா சா நீ தா பா மா கா ரி

II. SECOND DEGREE OF VELOCITY . (DVITĪYA KĀLA.)

இரண்டாம் காலம்.

. 12 X 34 13 12 8 78

சசி ழ க ரி க ம பத சநி ரி

(TRUTIYA KAL2.)

மன்றம் காலம்.

2X5 சரிமம பதநிச் சநிதய மலிச சரிமம் பதநிச் சநிதப் மகரிச சரிகம பதநிச சநிதப மகரிச் சரிசட பதீக

:V. FOURTH DEGREE OF VELOCITY. (CHATURDHA KALA.)

நான்காம் காலம்.

சரி கமபதநிச சங்தயமகரிச சரிகமபதவீச சமிபமகரிச சரிகமபதநிச சநிதபமகரிச

ச ரிமைபாரச சுந்தயமகரிச் சரிகமபதநிச சநிதபமகரிச சரிமபதச சகதபமகரி

' In practice, ouly thiee Kalw wtw employed at present for beginners; soine emineut professional men with oxtraordinurily rich voices usodl to sing al their pieces in as mauy is six cslas cg., SUAD Kila Koudayya, - beginning of courso with a comparatively rapid movomoat.

2

CHATURASRA JATI VARUSAS.

(67 சதுபஸ்ர ஜாதி வரிசை.

சரிரம் சரிகம் சரிரம பதநிச சநிதயசநிதப சநிதப மகரிச சரிகம சரிசம சரிசரிசரிகம சரிகமபதநிச சநிதப சநிதப சநிசநிசநிதய சநிதபம்க

5

சசிம பாசரி சசியம் பததிச சசிதபமா சநி சநிதப மகரிச சரிகம் பமகரி சரிகம பதநிச சநிரப மபதநி சநிரப மாரிச சரிசம பமச 1

8

410X80 -XE0 ிகமபதகிச் சநிதப மபாம சநிரப மாரிச சரிகம பாபா ததபா மமபா தநிசா சநிதப சநித்ப மாரிச

-6-

A3OX EOX5- 818 7 183 637

ம்பக மகரிச் சாநித தேப தாபம பாபா சசநித நிநிதப ததபம பாபா கமபத நிதபம கமபக மாரிச சரிகரி கா கமபம பாதப சா

11

45X8024 8 943 20X8- மப் தநிதப சரிமபத் சரி சரிகம பதநிச சநிதபமகசநி சநிதப மகரிச சரிகரி ரிகமக கமபம மபதப பதநித தநிகக

13 14

5100 437 6X8- சதிதப மகரிச் சரிகம் படநிச ரிசசித் சநிதப நிதபம தபமக ரி மகரிச பமகரி சரிகம பதநிச ரிசசநி நிதப நிதரபமக மறி தபயட மாரிச

15 16

2367 SANGS ECXN8 188- சரிசிமரிசகம கமமப மபபத பரதகிதநிசெ சநிநித நிநதப தபபம பமமக் மககரி கரிரிச சசரிகரிரிகம் ககமப் மமபத பபதநிததநீர் கழந்த நிநிரப

17 19

20500.5 7.XE

பம் பபம்க் மமாரி எளரிச சரிம பத்கிச சாசா தநிசரிசநிதப சநிதப மாரிச சரிரம பத்நிச சாசா தங்சரி சசரிம நிஎட பமப

19 :11

Eo :40 22 9223 X8-26 47-35 12029 தநிசரி சநிரப சநிகப மகரிச ம் பதகிச சாசா தநிசரிகரிசரி சரிச்தி தபமப தநிசரி கமி சரிசநிரபமப அசரிஎரிசரி

21

சரிசம் பாசிச சாசா சரிகளரிச நிச ரிச்சநி தநிசநி நித பதநிததப மபதபபமகம் பமமா மபதநி சநிரப மகரிச சரிகம பாடத

CHATURAŞRA JATI VARUSAS: Todimnd.) 168

In Eemontary Jnntruction bogke, n large number of சறுரவிர ஜாதியிலேயே, நிகிரிம் எண்டம் முரயை esercises is usually given, combining the TRISRA nnd KHANDA JATIS with the CHATURASRA: but as tho ஜாதிசளை கலந்து சொல்வதுவழக்கமுண்டு. சனால்

measuremone is uuiform throughout, and tho exercises in தாளப்பிரமாணமும் கதியும் மாகுதிருப்ப தன்வியில் the noxt sir pages (SAPTA TALA ALANKĀRAS) couvoy சப்த தாள அலங்கார வரிசைகளில் பலஜாசயும் au adequate ides of them nll, they are omitted lere. விளங்குவதால் இவ்விடத்தல் சொல்லப்படவில்ை.

JANTA VARUSAS ஜண் வரிசைகள்

No. 3.

The abore eserciscs may be vuried in many other மேற்ரண்ட வரிசைகளில், நண்ட மாங்களுடல் ways, the JANTA or sepeated portions being oxeeutod மேற்சுரததையும் சீழ்சுரத்கையுங் கது ஃடியில் writh combinatious of the notes nhovo and bolow e. g ..

) SAPTA TALA ALANEARAS, (Cout by , Met .; = 1H quavers. Each bar is an Avartn. (ENERCISES IN THE SENEN TALAS.) 169 Raga .- Do. Sampūrņa. N. B .- The bweats fall reyularly ou each.note or group of nates

(இராகம் .- 1o. சம்பூரணம். shown separately. சப்த தாள அலங்காரம்.

sr CHATURASRA JATI. 1f

I. QUADRUPLE TIME.

4+2+4+4=14.

CDhruva Taļa, I. துருவதாளம்.

Lagln 1; Drota 1: Laghu 2.

4+2+4=10.

Matthya Tala.

Laghu 1: Drata 1; Laghu 1.

2+4=6. Rupaka Taju, III.

L'euts 1; Laghu 1.

4|1+2=7. Jampe Tal. IV.

Laghr 1; Aundruta 1; Drata 1.

4+2+2=8. ( Triputa or Adi.)

No.

4+4+2+2=12.

CAta Tala.

Lagtu 2; Drnta 2

4. CEka Tala VAI.

' Where doable notes ocur, either may be nred, but if the lilgher note is taken in ascending, the lower slould iw taken in dc-cending aud pee verea.

(Melala in .- Mayamāļavagnuļa. ) TRISRA JATI. CISIRIS ( Comt by - 111 I1. TRIPLE TIME.

No. 1

3+2t3+3=11.

Dhruva Tala. I. No. 2. துவதாளம்.

Laghu 1; Druta 1; Lagh: 2

No. 1.

3+2+3=8.

Mattura Tala.

(மட்டியதாளம்.

Lngha 1; Druta 11 Lnghu 1

2+3=5. No. 1

Rūpaka Taļa.

(2ருபகதாளம். Druta 1; Laghu 1.

3+1+2=6. No. 1.

Jampe Tala.

Laghu 1; Anudruta 1: Druta 1.

3+2+2=7. -Triputa Tala.

டதிரிபுடை தாளம் Laghu 1; Druta 2

No.

3+3+2+2=10.

CAta Tala

YO. 2 LaLanbw.

Laghu 2; Druta 2

CEka Tila. VII. No. 2.

Laghu 1 :

S Meļakarta .- Mayamālavagauļa. ) MISRA JATI. ( Count by ( Rāga .-- Do .- Sampūrga. II. SEPTEPLE TIME. 71 (semiquavers. )

No. 1. f

7+2+7+7=23.

Dhrnsa Tala.

Laglmn 1: D.uta 1; Laghu 2.

No. 1.

7+2+7=16.

No. 2.

Mattlga Tala. II. மட்டிய தாளம்.

Laghu 1: Đra:a 1; Laghu 1.

No. 1 27-9. -.

Rūnaka Tala. To. 2

Drutr 1: Laghu 1.

7+1|2=10. C Jam" Tala.

(ஜம்பை தாளம். Laghu 1; Anodrutn 1; Druta 1.

No.

7+2+2=11

Tripnta Tala No. 2.

Laghu 1: Druta :

MIŞRA JATI .- Continued.) 172

7+7+212 18.

CAtu Taln.

Lagyhu 2; Drata 2

No. 7. CĒka Tala.

Laghu 1 ..

(Mēļakarta .- Mayamāļavaganļa. KHANDA JATI. BOL QIt. Count by Met. . (Raga .--- Do. Sampūrņa. (semiquavers. ) 144.

IV. QUINTUPLE TIME.

No

5+2+5+5-17.

No. 2.

Laghn 1; Drata 1; Lagl 2

5+2+5=12.

Matliya Taļa.

(மட்டிய தாளம்.

Lagho 1; Druta 1; Laghu 1.

2+5=7.

Rūpaka Tala. No. 2. III உருபக தாளம்.

Druta 1; Laghn 1.

No. 1 5+1+2=8.

Jampe Tala.

ஜம்பை தாளம்.

KIANDA JĀTI-(Continuod.) 173

No

5+2+2=9.

Tripuța Taļa. V. (திரிபுடை தாளம்.

Enghu 1; Drutn 2.

5+5+2+2=14. CAta Tala. VI. !அட தாளம். Laghın 2: Deuts 2.

No. 2. 5. (Eka Tala.

Lagbu 1.

(Melakarta .- Māyāmāļavagaula. olo o SANKIRNA JATI. auaso anf. Count by 2Raga .- Do. Sampūrga. somiquavers. Met. = 111

V. NONUPLE TIME.

No.

9+2+9+9=29.

(Dhrava Taļa.

(துருவதாளம்

Laghu 1, Drata 1; Lagha 2.

No. 1

9+2+9=20.

No.

Mayylya Tala. II.

Løghu 1; Drmtad; Loghu 1.

74 SANKĪRNA JATI-(Continurd.)

2+9=11.

Rupaka Taļa.

Druta 1; Laghu 1.

Nc. 1. 9+1+2=12.

(Jampe Tala.) IV. ( z 0 6w. ஐம்பைதாளம்.

Laghu 1; Anudrata 1; Drufa 1.

9+2+2=13.

Triputa Tala.

(திரிபுடை காளம்.

Laghu 1: Druta 2.

9+9:2+2=22.

Ata Tala.

Laghn 2; Drmta 2. *

எக்தாளம்.

Laghu 1.

EXERCISES WITH TRIPLETS. தீரயைக்கிய

' Caet by crotehets in the firal four linos and by dotted quarera in the last two.

10 Mēlakarta .- Mayamaļavagauļa. LAKSHANA GITAS.L wordsbyS Music & Govinda Dikshita.

Ragn .- Do. Sampūrņa (Count by Met. . = 144. (இராகம் .- Do. சம்ழரனம். quavery.

க்ஷ ண. க'ள். 2+.4 (=10 Stylo ofs 7 .. ( SANSCRIT WORDS. ). execution. Staccato e con gusto.

IBAVIKOȚI

Ra-vi - ko. - - ta - - ja Gu-nu -ga-nu - va Ma-ln bliu

வி - கேோ .த் - -க -ண்

Pa-ri - pü li - ta pan - da-va -vd Nu-ta-mru-du pa - dn pal - la - va

து -த-மரு-து

re sa - ra - si - ja - nã pan - ga dhru ra - than ga su - bhăn

பாங்

dha-khaga-tu gã RÃ MÃ - YÃ - MÃ - LA - VA -- GATT - LA

மா, 'யா மா ள வ கெௌ - ள

U - PAN-G.A SÃ - LAN - GA NA TA CHHA GAU - LA MAN - GA -LA-KAI

3

SI-KI, ME GHARAN-JI ME-CHA-BAU II TAK - KA , NA DA. MA-KRI-YA,

-80 -2 3 சி - கமே க - ரன் -ஜி மே - ச. 1. பள - டக் :- நா

PA - DI RE - VA-GUP-TI KAN-NA-DA - BAN GA - LA GAU ĻA, TA

• & X

பா வ -குப் - தீ கன்-ன'ட பங் , . Guar . ar ல - லீ

GUJ-JA-RI GUN DA -KRIYA , MA-LA-HA-RI BAU AR DRA - DE SI

.. Koo தஜ்- ஐ -i பள

-0-

Ag pa cha - kran nā gu - ru -ro Nu- bhan

Car. ரன் ரூ-ரே

N. B-It will be observed that the frat wllablo in the firat six AVARTAS correspouds with thu nume of the 6 notes of Mode No. 16 escepting the S ..

HAVIKUTI-(Conlinned.)

BHA- SHAN RI - GA ; SAU - RASH TRA PÜR - VI, X Gsar ராஷ்

GAU - LI - PAN TU, MA-RU -VA , SA RI MA- LA-VI, PAN-CHA-MA , PUR NA-PAN -

ள-ளி. பந் Car -ar -af

CHAMA, MAR DE SI RĀ . MA KA-LI PPHARAJU GAU -RĪ VA-SAN - TA, RA - - 6 al Cs கள - R 1,07 .

GA xu-bhãn gã - rữ ba kha-ga-tu ran

Melakarıa .- Dhiraşankarabharaņa. II. RIPU'BALA. "Taļa .- Matya. (4+2+

மேகர்த்த .- 3ீரசங்ரபரணம். ரி-பு ல தாளம் .- மட்டிய (4=10.)

Ri - pu- ba - In khau - da- nu - ro Gu -ru-gu - na kn- ru - r@ Ma . pa - ra

1 க - ரு - ரே மா

pa li - ta - bhu-va-nu-ro Dhi - jn - na kshn-nu- ro Nu-ta:chn ri - tru-rü

ங - த - ச

Sa - 1 sa- ra Sri ma han urn pa - ri - pa . In - ya mam.

சங் மாம்.

G.TN DHI RA - SAN-KA-RA BHARANA. U - PAN - CA ; KO LÃ - HA-LA . 6. .

KU - RAN . JI , JA-NA- RAN JA-NI., KAN NA-DA NÃ GADHVANI , GA.RU - DA DIVANI %.80 of கக - வ . of

JLAM - SA .. - DHVA-NI, A - RA - BHI SIN DHU PUR - VA GAU - LA, VI - VAR. DHANI,

• af, SQ கள .. வர் - க்க எ,

DÊ SA KSHI , SIN - DHU - MAN - DÃ RI , DĒ - VA GAN DHA - RI , 1. 1.80 தே

. Ht-In the firt seven AVARTAS of this pieco, the frst syllables agreo with the names as well ns tho position of the notus.

12

RIPU. BALA .- (Continucd.) (Taļa-Matya )

SAM .- BHU - KRI-YA DII - RA MATI, KO. KI - LA BHA-SH nu - ru

ra sa - ra cliau -ya

மாம்.

CBHÃ - SHÂN GA RA CA DA RA BE- GA -DA PŪR NA -CHAN-DRIKA,

பா ண as - al. d

-o-

BI - LA -HA-RI, MA IIU-RI , A - III-RI - NA TA A - TrHA NA , SUD - DIIA.

SÃ . VE NA-VA-RO JU AU . DA MALLA

20 ா- வே - வ -ரோ மல்

dra

ம்.

NOTE. It has heen usual to preseribe for beginners n very large number of exercises called GITAS in the prineipal melody-moulds-GHANA RAGAS-r.y., NAȚA, GAULA, VARAĻI, ARABIII, ȘRIRAGA, &c., utilising at the samo time most of the complex mensurements shown on pages 4 to 9 wwpra, the objeet being to familiarise the ears of beginners with the position of notes, their VIKRITI BHEDAS, the peeuliar w hythms, ete. They are however comparatively dry, aud as the special characteristies of each RAGA will be nnalysed carefully aud exhaustively denle with in the suparate chapter, RAGADUYAYA, and as the staff notation symbols by themselves indiente the correet aucents, ouly two LAKSHANA GITAS hve been printed nbove. The remninder will appoar with the chapter on RAGAS. The arcents with the regular beats should as a rule fall on the first noto of each group of notes or at the commencement of a bar. Out of the 35 ALANKARA VARUSAS given in full on pages 4 to 9, only the following have been selected as representing the SAPTA TAL,AS and are iu common use, even the JATIS not being mentioned. All the 35 should however be practised.

No. TĀĻA. JĀTI. ANGAS & AKSHARAS. Notes of the first AVARTA.

DIIRCVA CHATURAŞRA 4 + 2 +4 +4=14 Do Re Mi Fa |Mi Re | Do Re Mi Re | Do Re Mi Fa | MAȚYA CHATURAȘRA 4 + 2 + 4 = 10 Do Re Mi Re | Do Re | Do Re Mi Fa li 01 2

RŪPAKA CHATURAȘRA 2+4= 6 Do Re | Do Re Mi Fa |l 4 JHAMPA MIŞRA 7+1 +2=10 Do Re Mi, Do Re, Do Re, | Mi FA

5 TRIPUTA TRIŞRA 3 +2+2= 7 Do Re Mi Do Re Mi Fa = AȚA KHAŅDA 5 +5+3+2=14: Do RE MI | DO Re MI | FA FA 7 CKA CHATURAŞRA Do Re Mi Fa |

For faking breath, the larger odd numbers are divided as follows; 5=3+2; 7=3+2+2; 9=5+4. The SANKIRNA JATI is some- wbat diffienlt to exeeute, and has not therefore been adopted in common practico. The CHATURASRA JATI of the TRIPUTA TADA is called the ADI TALA, and all SARALI VARUSAS and popular melodies are composed in it ; it has 3 ANGAS (one LAGIIU and two DRUTAS) whieh consist of 4+2+2=8 AKSHARAS; in priuting the Music, the LAGHU has for the sako of simplicity aud symmetry been sub- divided into two equal parts, and the whole repreyented thus,: 2+2+2+2: it, should thereforo bo remombered that in reulity there ero ealy 3 beats in this TALA and uot 4. Similurly no intermediate bars liavo been insertea for such short TALAS as RUPAKA or TRIPUȚA, as tho nuicbers printed at the commencement of euch piece show the subdivisions clearly. The JHAMIA TALA ia often counted as KHANDA JATI LAGHU (5+5), owing to the difficulty of counting 7 AKSHARAS at ono breath und thon 1 aud 2 units sepnrutoly. The nsual nomenelaturo of tho SAPTA SVARAS has boon priatod in pnges 1 and 2; but nll beginners should horeaftor be trained to habituate theiselves from the very onsoi to GOvINDA DIKSHIT's excellent differentiation as oxpluined in pages ii and ii. The varions SARAI aud ALANKARA VARUSAS givon nboro should also, be practiged in as many modos or MEGAKARTAS as possible, the key signatures here priutod being changed according to the character of the modos, aud tho names Ra Ri Ru, Ga Gl Gu, ele., boing substituted for the usual ones.

UPPLEMENT. II.

THE FIRST 36 MODES

WITH E. NATURAL.

MELAKARTAS SUDDHA MADHYAMAM, .

0 8 33 3 6 s 8 e.

சுத்த மத்தியமமடங்கிய முதல் 36

மேளகர்த்தாக்கள்.

N. B .- This table maay bo pasted on'r snparato board and kopt apart for ready roference.

பகுபியரமாய் போமைக.

SUPPLEMENT. II. SVARATArIS. சுரஜ திகள.

173-180 90 4. e.

TH Y SHAER

MADHYAMAM,

load h;t aport fer rond: iotvreneg

UPPLEMENT II. 182

wso w. SVARATAIIS. சுரஜதிகள.

.- Deno இராசம் .- பிலஹரி. தாளம்,-ஆமி. t.

AROHANA MELA-No. 20. SANKARABHARANA. AVARGHANA. Music by TGA-BILAMARI. Count by Minims .- Mot. - 141. TALA-ADI. 4+2+2-8, (Minims) Stylo of execution .- Allegro-Vivace. KA I GU PA DHI BA. HA NU DULPA MA OU HI NAA

சரி குபதிச. சதுதிபமகுளிச.

Fin. w T. w

8, 2,2 X:7 21 சா, ரி &ூபா, தீசா ாடீ பா திபமகுரி ரி ச நுதி சா,, 1| சா, ரி கூ மா.கூ பா பா. ம ஏ. F =

I11.

Xn 8702238 11 7.8 X cm

ரி சி பப்பாம்கு க. ரி ச சர நிச து தி ||சர, ரிகக பா, ப பா பா பா,,,, தப

1V

38K 1 25, 813 8 KdNo X,, XidCN N tMT ..

தரி சஅு நு தி பா பதிபம் ுகு குப மகுரிசரிகு ||பபபா நிரிரீ குபமகு கூ,, குபமகு மகுரிச ரிகுரிச சா,, G

V 1y

5., 6754

ரிசறுதிசா,, மழுரிகு பா,, திபதிரிசா,, ரிசநுதிபமகுரி|| பா,, மகுரிகு தீ,, மகுரிகு பா,, மகுரிகு பாபாபா,, கூ,, ரிசதுதி சி, ரிசதுதி சா,, ரிசஅுது

VI.

6 5., 5 Xr,, :he P., 8257 :4:40M 6868 11 6., 3 8 33 ப

ராசா சா ச தீ தீ 1,, பாமகு கூ கூ கூ,, சரிகுதி பா, ரிசரிகு சர, குரிசது "தீபமகு ரிசதுற|தீ,பத பட் To

-0- -0- Notosh குரி பதிபம் குரி ச 'கூ, பதிபம குகுரிகுசா ச ச சா சா சா,, ச ரி கு ரி கு பா வபஜீ மதுரிகு திபமகுரிசா சுர், 2 ச.

AV W

6 .. 5 .. 2 8. 6.,

கூரிசதுதிரீ ரீ,, ச ரிகு சரிரச .ு போ தநு பதிபம கூ குதி பம குரி.

Note .- வ, ற ல, N nதிசசல றனுசமி ஜலககஸ் oe, ரகலைபறி Noம கிரல்ட 03k 7827K8de C75

Nutc .- க32தி, வர்ணம், இலட்்ஷனகீதம் முதலிய இனிமரும் பாகங்களில், சுரங்களின் பெயர்கள் கோவிந்த தீட்கஷதருடைய குரியீட்டின் உன்னதமான யபோட்டின்பம் நச்சிடப்படும். இதுவரையில் இல்விதமாய் பாடுவது வழக்கமில்லையானாலும், இறுவே சரியொழிய, சகல விக்ருதிபேதங்களையும் பேதகமின்றி ஓரே ிதமாக் ச, ரி, க,ம் வெ்ற பாடுவறு சரியன்று. பூதிதாய் 'சாதகஞ்செய்யும் பாலர்கள் ஆதிமுதல் இல்விதமாகவே அடபியாசஞ் செய்யமேண்டிய. பொஞ்சம் பதர்கமாகியிட்டால் பிறகு இரரமாய் தோனமுது.

SUPPLEMENT H. SVARAJATIS

II. இராஎம் .- மோகனம். தாளம் .- ஆத்.

NELA .- HARIKAMnODHI. (No. 28.) AROIANA. AVAROHANA. Mysio by RAGA-YOHAANA. (PENTATONIC.) Count by crotchets .- Mot. .= 11. TAĻA .- ADI. (4+2+2=8 Crotchets.) Style of execution .- Allegro vivaoc. BA RI GU PA DHI 8A. SA DHI PA GU RI KA. 6N 3 8 ~. 2 370 8.

ரி குபதி ச. சதிபகுரி ச. 183

Fin. T. II. AP

3-0 - 3ல.2.0 V-8 சீ ஸ - -ல.3 3.0 - 3r ல -- 13 . 3 -

சா-மி ந-ய -மீ ரா செலி.நேுகோரா யீ மோ-டி த குநே-மி-ரா ச-ல - மா மு-மா-டி-கி-னி பூ-மீ வெல-A .- 1 111.

4.X - 9-5-8-5 35.1ல-7 3- 5 - 3 -0-7 27.7-3 பல-ம- ம.8-3-X 2-8-2-ல ம- -5.8.8 3X -0 -1/ 00 -- 2-6-8 ஸி-க-ர்.ப-ர-த க-மமு.னனெர- நம். மி. சா-கலு மு-றமொத -வ-க ச-ர-ச-குபி-லு.வ.ர-யி.க ரா-ரா வ- க.ல- லா லி-பு.டே'.

-w - 0- 5 -p.X 3.7 0.0 20.0 8-co - 7 - 8-3.நில-2 ல்-00 6.8 0-8-

மா.பா - வனு னி- தா.ள.கனே-அகொ ஜா-லி ஜெந்தி த-ய - தோ ப-லு-மா -ரு-னு கா - ர.வ.மன ப-து ச.ர லி.ர - சமொபே -.

80-0-3-ல-4 1 - 610-0 7.8.0 3- 80-0 1.020 - 50-0 D.N- 20-5-p 30-6-70-1 500 இன்திசெனுல மேல் பன்-தநடலசௌ- தன்- தி சனுல பன். த-ல பி-கு.வென் த-னி பன்- த - கிஞ்சி மன் - அ- கெக்கு பாளக.

.. V.

-0.00-0- 5-0-6-B0.8.8. லல.ல -95-8 - & -8 D-8-2 2o08 23-80 - 0-p X7.2-8 சே தி.பன்.தி.ரா ப - ரா-கு-வ-லது-ர. ழ-ரு-ல மீ-ரி.மு-ருதனி த - ரி சா - ரெ-கு வி-ர-ஹ மொந்தி ம- ரு கே.ரனி க ---:

8-5-N- 8-P. 1-8 M.3-8 மி-ம-த-மு மு-ன ச-ர-ம-ரூ-2- க னநெர

N. B .- In executing the grace note care must bo taken to avoid the F which can never appear in tho Pentntonic scule, nnd the symbol must be taken

to be equivalent to moro or less. The anmo principle npplies to all ornamentations in VARJA RAGAS, where particular notes nro omitted.

III. vKd0 .- To28. இராசம் .- காம்போதி. தாளம் .- ரூபகம்.

MELA .- HARIKAMBODIII. (No. 28.), AROHANA. AVAROHANA. Music by RAGA-KAMBODHI. Count by quavers .- Met. . = 100. TAIA-RUPAKA. (2+4-6 Quavers.) Style of execution .- Andante-Dolce. SARIGEMAPADHIMAGUPADHISA. NA NIDHIPAMAGURISANUPADHISA.

சரி கும்பதிமருபதிச. சநிதிபமகுரிசதுபதிச.

Fin. I.

fe Ko 8 12 8 48 - சி சா சா சா ரிச த பா கூ கும குரி சீ ரிகு ச

II. 111. 3

fe 3281 6 8 X 8 5 K 5 233 8 :8 11 12 f. பா பதிசரி I| 8 கூ குரிசா சுபதி சா சா ரி குரி ரி கு சி சனபைதீசரி |! கூம்மக கூ ரிசர

SUPPLEMENT II. SVARAJATIR

KĀMBODHI SVARAJATI-(Continued.) 184 காம்போதி காஜதி -- (மடக்க)

1V

.....

XாXX 5 Xo 6 12 2 81 C சாசி கரி சாது பா சாரி கூமகுரீகுரி சா ரிச நூ பதி பா தச ?ீ குரி ராதுப் இசய

-5- O X3 57% 8 70 5 8.70 0 5 NO NO NN B2 0M 8 6

குரிச சிகுரி ரி ச ரிகு ரி மக சரி கும குகு ரிச 1.குரிரிச து. பதிசரி குரி சது பதரி

.

-o- AS.,. 1, 50 ல 4 -35 70 20

மபாபா பா, குமப ரிஏ.ம பா பா பா, ம . சா கும பா பா பா. ததநீந்த

.n3 50 2 பா ஓபே கும பாகம பா பா பா, த பப பா மமமாகும்

பா நிங்க பட்கும். மகுரிகு மா் பாம குமபா்

25 3 2. 1 ந்திதிட் ரீ த்திபம பா ப்பமகும் மம்கும் பா பபமபகீ நநிதிபமீ த்திபம பா பா பா ப சா சரி சா

03 ஸ,1ல டு UU சர் பதறி சா ச பதிசபா த சநிதிப மகு சாசா ப தச சா சநித்பம

2438 டுப்ஸய் & 3லX56 2 ப தசாசா சாரிகு ரிகுரி சாசிச நிடிபதி சா சநிதிப சா நி திப்தி நீ திபமப கீ பமகும பதிசா சா ரிசநிதி சநிதிப நிதிபம

ww

EA OA A Ve

25 K3 8 N S X No e திபமகு பமகுரி மகுரிச சரிகுரிகுமகுமப மபதி பதிசரி குமுரி சதுபதி சி சா நிதிப தி பா மகுரி ரி சாு பா தா

1z Note .- ou we 353, 0 ஃoஸ கல் மலாலலல் லர்கன்தல், 2308p சிவ்கக, மண், ் மடாக்

Nol-மாம்போத் இராகத்தில் கைசிகி, மாகலி இந்த இரண்டு நிஷாதழம் அடிக்கடி மாதி வரும்போறு, இரண்டையும் பதகமின்தி ந, யென்ெரு" மல், நி, நு பென்றறெழும்து யெம்வளவு அுகூலம். பாடும்போதும் அப்படியே சாதகப்படுத்துவறு வந்தமம்.

IV. TRtல .- Tதடட, 3ூபத-WootB இராசம் .- காம்போதி, தாளம் .- ருபரம்.

CNELA-HARIKAMBODIA (No. 28.) AROHANA. AVAROHANA. Muric & words by KRIstsAswAMt BuAASA. RAGA .- KAMBODIL TALA .- RUPANA. (2+4=G Quaver.) Count by quavers,-Mot. .= 100. Stylo of execution .- Andante-Dolce. BARIGUMAPADHIXAGUPADBISA SA NIDHIPAMAGUBISANUPADDISA.

பரி குமபதிமகு பதிச. சநிதிப மருரி சலுப திச. Vin. 1.

பு. ரி - 7.3 1 70 2 5- 3 மா .வி - கு- லா- ப்தி-சோ-ம || நர மொ- னே g-வ ந - வெ க-

19 தக சய். 3- னிக்-சு- மி- 1 சாட- ர சா-ச நீஜப் த-மு-லே சாமல நம்- மீ கா -ம - கோ-டி - ம - 3 - 6. 24

SUPPLEMENT II. SVARAJATIS.

KAMBODII SVARAJATI-(Continned.) காப்போதி காலதி (அடர்ச்சி.)

S

-et 8 -8 1 30 - 1 கா தா - மு-லந்த னு - ம தா-ம.1 . மி - ட: -க - த II

-8 - மல - 2 ந - -னா- .மு - ன கே - லே- வி - பு

• 4 - 00 - 0 So- - -0 - 8 3.X - 8-8 2. மு - ல தண்-ட. - மு -லி- டி - த -

0-23 - - 3 - 5n மன். மு. மா

-பீல- 3-8-8- - 5. -8 2-3 8-4-1 7-7 மா - 2. முல கி-வனே நே-ம-ர-கனு தா ஸ்ரி- து ஐ -ன சூட- க ன - கா

0.2-2 - 8-33 04. 0 C - -37 -5 -1-8 -K - 8 - 8 3 -3 & - 5. Co 1 தி- ு.த நா. மஹ-ரே ச-ஜ-ன ஹரு- த- ய லோ-ல யசனு -சரா-ம-பு-ரகு-ரு- வ. ர ய -னிவே- டி- தீ.

N.B .- SYAMA SASTRLI'S Loautiful Svarajati in Bhairavi will bo found with his othor works.

V. 75ல-2083. 3ுiKல .- 08. இராகம் .- சென்சூடுடி. தாளம் .- சதி. 3

NELA-HARIKAMBODHI. (No. 2S.) AROHANA. AVARŪIIANA. Music & words * by

IAGA .- JANJUTI Count by crotchets .- Met. . = 144.

TALA- AD (4|312-8 Cranchete) Stylo of oxoontion .- Mareato. ĐHI PA MA GU HI HÀ NI DHI PA DHÍ 528M 2 8 7.8 2 0 1 8 0 8 5 8 . சரிகுமபதிநி, திபமகுரிசநிதிபத்ச.

S Fin J.

4

T. ( Pa. ) Mā-ni-ya - kã = mi-un pa - da - mul sa - da nam-mi-ti Ma-ra - jn - na-kn- vu ma - va ra - vi - mi-ta 7 - 2-3 -RO. 3 1 மா-3- - சா ந-த ப த - முல் ச - தா நம்- மி-த II மா-ர. - ஐ-ன.5-வ மா - வ III.

₩

Ma-ho-mn-ch - pabhanjana mu-nin-dra-hrun-man-da-na Mava-ra mo-ra vi-na bahutsala - ma nara-varananumaravaku 3.3.7.27 2-40 - 2.7 லல- 50-(8-5) -80-6-7 : கn.5-8 30-8 0-2 ல.10-8-0 - 6 7-8-5-6-2-86 05.3-23 ப-பஞ்- ச-ன மு -நீந் - தர்-ஹ்ருன்-மண்-டன|! மா-வ- ர மொ-ர வி-ன ப-ஹுசல - மா ந-ருவ-ர -- அ ம-1-வ- IV. 11

w

ma pada - mula-pai badi- ti su - ma-varamu - lim - ma kuladhanama || Ma -ramayavinu - ma manavikonu - ma nanu manupi r -- - 3 3-8- -5n. 5.8-மல -0றல-0-2-7-5 1 - 6-30-17-0 -- 3.0.8-30 20 301 மா ப-த - மு.ல.பைப-டி-திகு - மா-வ-ர-மு - லிம் - மா.கு-ல-த-ன-ம || மா-ர-ம-ண-வினு - மா ம-னமி.கொமா ந-ல ம-ு-பு

ma pogala-ta-ra - ma abhi-ma-namu manaka marasa - maua ru-chira suku - ma-ra su-rn vi-nu-la.

மா பொ-டடடி-ர- மா அபிமா-ன-மு மா -- க மா-ர-ச- மா-ன ரூ-சி-ர சு-கு - மா-ர சு- மி-னு.த.

" Worde rourranged by Kristuaswami Bhugnvut.

SUPPLEMENT III.

FSANAIVARNAS (6 நானவர்ணங்கள். e3

MELA-20. DHIRASANKARABHA -. I. SAMI NINNE. Music and words by Vina Kuppayya. RAGA-Do. SAMPURNA. [RANA. t2=8 Crotchots.) சாமி நின்னே. Count by crotchots-Met. J = 100. TAĻA-ĀDI. (4+242-8 Style of execution-Vivuce.

மேளம்-29-தீரசங்ராயம். இராகம்-ஷ சம்பூரணம். தாளம்-8தி.

ரி கும கு

ANUPALLAVI- பல்லவி.

MUK -முக்தாயி சுரங்கள்.

CHORUS repeated before each group of Chitta svaras சிட்ட சுரங்களுக்குமுன் பாடப்படும்

CHITTA. SVARAS

Wheo the Sret part of tho PALLAVI at y in ropeat od, it is gung with variations

MELA. -HABIKĀMBODHI. (No. :9) II. TARUNI NINNUBASI. Music & words by Fiddler Ponnusawmy. RAGA -KAMBŐDILI Count by crotchots-Met. = 100. TALA -- ADI. (4 +2+2=8 Crolchets.) தருணி, நின்னு பாசி Stylo of execution-Dolcissimo.

மெம்-ஹரிாம் பசி. இராசம்-காம்போது காளம்-6தி.

PALLAVI சரிகுமபதிமகுபதிச.

(u.)

SUPPLEMENT III. TĀNA VARNAS

& KAMBODHI VARNA-(Continued,) 187 காப்போதி வர்ணம்-(உர்ச்ச)

ANUPALLAVI.

MUKTĀT! SVARAS.

CHORUS I. CHITTA SVARAS.

G

/: This strain is often repeated with a few.variations in the last bar, as follows, before taking up that shown in the toxt ..

. THE CHORUS IS VARIED OCCASION. + Sung

ALL.Y AS FOLLOWA also thus :

N. B .- The RAGA KĀMBODIII iuvariably and it is only in tho descent from B to Gi thal

ends thux, the h is introduced.

RECTE ET RETRO. III. SARASAKU-RA-KUSARASA. SAVYAPASAVYA. HEADING BACKW.IRDS AND FORWARDS THE SAME; BOTH MUSIC AND WORDS.

மேளம்-நடபைரவி. இராகம்-பரவி. நாளம்-ஆதி.

MILA-20. NATA BHAI- [RAVI. 65 Music & Venkataramana words by Bhngavat & Vina /RAGA-Do. SAMPURNA. Kunpayya. (Aro.) SA EI OI MA PA DHA NI 8A. (Ava.) BA: NI DHA PA MA GI RI SA. ( Count by Met. =144. TĂĻA-ĀDI. 4+2+2=8 2 quavors. 12 32 [Crotchets.) (ஆரோ) ச ரிகிம பதநிச. அவ.)ச நி த ப ம கிரிச. S Style of 2 execution. Dolee

.RECTE-FORWARDS. RETRO-BACKWARDS. SAVYA, Sல, சவ்வியம். APASAVYA. RECTE-FORWARDS. RETRO -- BACKWARDS

மததல். அபசவ்வியம். SAVYA. ல கவ்வியம் APASAVYA

(Pa.) Sa-ra - sa ku ra vo v rar. ma va 3

SUPPLEMENT III. 1 3 TĀNA VARSAS.

BHAIRAVI VARNA-(Continted பைரவி வுர்சூழ்ா(ரொடர்ச்சி.) RECTE ET RETRO .- (SAVYĀPASAVYA.)

RECTE-FORWARDS. RETRO-BACKWARDS APASAVIAR RECTE-FORWARDS. . RETRO-FORWARDS. APASAVYA. SAVYA. t Fawn. மல்பவ், அபசவ்விய்.

(Auu.) Pa - ra Na - rarya ma

MUKTAYI SVARAS.

: CHORGS CHI' ARAS.

Ra-ji - va-na'- ya na-va -+ ji-ră-

The peeuliarity of the above coun sition cousists in the fact, that both the music and the words read backwards and forwards the same, (IMITATIO CANCRIZANS or Retroyrade Imilation) as in the following ingenious devices :- Sanscrit. Latin. English. AR ezile wighing for his couptzya The jirat Man introducing himself to the ST-RA-BHI GA-GA-NĂ-HA-VÂ ROMA TIBI BUBITO MOTILUS IUIT AMOR. first Woman.

NA SE-DHÃ VA HI TA -K-KA. Cry of the Ecil xpirits. Latin .-- EvA, Ave!

IN GIRUM INUS NOCTU ECCE UT CONSUMIMUR IGNI. Enylish,-MADAM, I'M ADAM!

WORDS FORMING AN HEXAMETER, WHRN READ FORWARDS. BUT & PENTAMETER WITH THE opposite Sigh of the Penitent Siner. MEANING, SHEN READ DACKWARDS.

KA-LI-DA-NA.MA.NO-HA-RA Hrrameter, Forwnrds. RA-HA-NU-MA-SA-DA-LI-KA SACKUM PINGUE DARO NON MACEUM SACKIFICARO.

Pentameter, Backwards. There are innumerable istances of this SACIIFICABO MACECM NON DABO PINGUE SACRUM. kind in Tamil and other Vernaenlars ;- Franslation. .some of them, first class master-pieces in ive S fat not lean. ) Hexnmeter. A sacrifice I'il give 2 leau not fat. f Pentameter. their way ;- but it would be quite ont of place to insert any of them here.

EUROPEAN MUSIC. Music reading furwards and backwarda the gam and also liable to be qung in Counterpoint ..

Nusic for 2 violins producing harmony, when pluyed from opposile ends.

MELA 20.DHIRASANKARABHA- . CRANA. BARASIJANABHA. Mutio by Subbaraya Sastri. RAGA ARABII. Worde by Venkataramans Bhagavat. sCount by crotohets-Met. /= 144 TALA-ADI (4+2+2=8 Crotchots.) சர சி ஜ நா ப்: Style of execution. Vivace.

வூல-தஇராகம்-ஆரபி தாளம்-ஆதி .. N89

(ஆரோ.) ச ரி மபத்ச. (அவ.) சதுதிபம குரிச.

யங் (அனு. லோ

MUKTAYI

தோ கமலஜ பலமுக

c-1 .- - 82.1. 5-1 .0. D3.E. க. 2 0-2 0.3 - 0.8-5 சு -ர மன-வி-வி-மா ப-சி- றடனு-ம .டு -- னு ஜடமதினி -ம-ர சி-தெ. யி-த-ர

13 -லல்-0.8 -0-3. 80.30 க.தெ-யர-ய பரமபு-ரு-ஷேயத்த- மா. உ-யர - நி.தே யறுசமு தா- பளின்- சி.ந.லு ஈருண-மற-சிபுட தி. ப-ரா.மரின்-ச CHORUS. CHITTASVARAS. I.

52 6E55 7 -8- முதாா - திபமா- ஏவக.கோ-த்தர ளனே கோ ரி தா-ச-மா ன

II

662 ஜி த-மா- ம -வ- ர-குவர னகா- கருடகமன - பட- குணத-ஓக- ITI

8 p 90 .. b56 .hom.kwu 5.8.1 - 5.9.D.K - 8ABc நி - தசசாங்-கவா தவிரத-ரா-ஜ.வர - தள் கலஜ-னலுத நீ- ர - ஐ- ரி- பு. ம.ர.ணிசாய

.p.e 2 :- 4 550 - Dco PX mpe .- ல.2.0.8 -நி-ல - க- த்ருகசர-ணபு ம -வே-த்ய- ஜ க-7வ.த்ய-தரேட்ய - நிகில-லோகசர் ணநீல -௪ -ஐ-ல்-5 பச் - C- 3ரக 5

86-1-25-5 - 8450s -m ft - 8 - 02-8. 5- 234 93 - 3-20 - b. W0X.M 8XNXEO-58 - 35)-50- 108 83 .ி5 - டு-க்ய-நீ - நதிசய -னார்த்தி-ர - நிற-ரூ-ப புத தா -ப - ஹரணதும- ப-வந் -தி-தாங்க-ம தஜகமன-வர - ஹரு-தம். புஜசதன IV.

78285-722 5ஜ-லநிதிசு. - சம சஜனக-சுன பய -ஹாமுருகம சஹாணததகவிுத-பவடியவி.ரவை

(190

ACADEMY OF THE DIVINE ART.

A SERIES OF

PSCUDO-DRAMATIC

MUSICAL DISPUTATIONS,

IN 72 DIVISIONS,

Discussing in the form of a diverting and entortaining Dialoguo all tho dobatablo and doubtful points connected with the Divine Art, as cultivated in the East as well as in the West ; but more dspecially devoled fo the delailed analosis and clear eposition of the DRAVIDIAN seleme of MTJAS AND RAGAS, (oig., thd 72 Parent Modes and Ife 1001 Derivative Melody-moulJs)

BY

A. M. Chinnaswami Mudaliyar, M. A.,

Member of Council, Madras School of Muisic.

In illo libro, qui inscribitur Menon, pusionem quemdam Socrates interrogut quedam geomotrica de dimonsione quadrali. Ad en sic ille re-pondet, ut puer : et tamen ita faciles interrogationes sunt, ut gradatim respondens codem perveniat, quo, r germetrica didicisset .- Cic. Tuse. Disrur 1, 24. (57).

Even little children can be made to give satisfaclory answers to questions on the most abstruse scientific subjects, just as if they hud masteree the sciences, provided the questions are put to them in such a simple, casy and graduated style as to clicit .the correct replies from their own lips. This is the best method of teaching.

RADRAS: PRINTED AT THE AVE.MARIA PRESS, HARRIS HOAD

Oriental Mhusie

Mode No. 28 Mod

HARIKA MBOIITI

KHARAHARAPRIVA YAKANTA. BY Mnde No. 20: Mouo No, 27R AM. CHINNASWAMY

NATTHA DHAIRAVI MUDALIYAR, M ARASANGI

Modo No. Ir

HANUMA TODI, KOKILAPRIYA!

Mrodo No. 65. Modo No.

NECHA KALYANI KIRAVANI

Mode No. 25 Mode No. 1a.

ŞCLINI ECHAKRAVAKA.

Mode No, 30

NAGANANDINI MALLVAGAULA B 36

CHALA NATA MUDALIYAR SHANMOKHAPRIYA

RASIKAPRIYAŞ ISVAİ

SEUROPEAN MAJOR MODE. ROPFAN MINOR MODE

AS

SAPTA TALAS.

LANGAS

ANCHALJAT

KHAND 84593-2-14

ANEIRNA

4:2.414414

412-4-10.

2-4-6.

Soyouty-two ifforont wer-groon Grovos or Wogdn, euch Jaid out with the boxquisitely beautiful pluutntions nnd nrowatio herbs whilo within ench VA N A or Woodjaro numbors of yurdunt Orchurda,t. Purku and Gardens, toomiug, with tho most wonderfullysend artistically woll-constructed bowers, delicious arbours and plousaut alleys. P72MBLAKARTASFoPhront Mode 1001 RAGA8 or Derltativo molody.moulds.

DRAMATIS PERSONA INTERLOCUTORS.

PROPESSORIAL STAFF. ONORATY MEMBERS AND VISITORS. PUPILS. 1. Pianista A Professor of International Music, Tądhı thorough Proficient in the 9. Manikka. woll versediin th sedi the history and theory of the Divine st and in the West hut not thorougblyaoquuinted with the practical worki 10, Tayasi Mangala. land iinpartial critio and and Beginnors in Music. of, the Oriental systom espccially in Southorn India. 2. Violina A Professor of European Musi 8, intulligont nnd ao others. ignorant of tho Oriental system complished scholar k ithe fi but igno ATTENDANT. Vainika-A Professor of Oriontal Musio, Music Vidushaka.A stammering clownish rhy ynorant of the European system unity, pretending to understand nothing ster, with/a 'smattering of everything ; gifted with a go 4. Saranga .- A Professor of Hindustani Music, Gana: A isound scholar, fairly ndvanc ear, but yunble to grusp anything systematically. guorant of all other system. Music, but anxious to lea n the Staff Notation

PREAM B1 DAPTED FROM ortalis Avoni :/ Parce mipi'stolido, siquid ineptus ago.)

Vinn. (Singr )Under th0 grgenwood tren, VIDU. Woll, I'll ond the soug. ho loves to lie with me, With a hey, and a be; aod a hoy minino, It it do come to pass, And tura his merry note ati o'or the, groou corn-fleld did pass That any man turn nas. Dato the swoet bird'a throat, Jn the apring tinip, tho only protty ring timo Louving bis wealth and enso, Come hither, come hither, come hitber Wheu birda do singfioy ding a ding A stubborn will to pleaso," Hom nball he seo Ducdams,ducdame ducdame VIDu. Trulyyoung Warb ghsthore as no grent Here shall he see

Bot winter and rough ancableg & Gross fools as bo, An if he will rome to me, GAN. More, isore, I pr'ythee, more. MANIK. You arv deceived, ass wo kepb time, we lost not onr time In this, Academy. Vint. It will make you melancholy, Gou. Vibv. By my truth, yes i cquot it but time lost to hoor such & foolish

GAN. I thank it. More, I, pr'ythee, more; I can unck Bong. God be wi) you pand God mond your voiuea ! (Going.) GAN. What'e that Ducdame

of a aang, s 'wendel guoka egga ; moro, I pr'ythee, more GAN. Now, don't run away you should non give us some more, snotber Vipy, 'Tis a Greek invocution, to call foole into a circle. 1'll firsi ViDu. Mr voioe is ragged I know I cannot.please you. stanza of your uong i call youdom stanzas.87 arhyming' proclumation all over the foreat with this iovocs and thon, I'll go aleep if I cant if I cannot, I'll rail aguinst all GAx. I do pot desire you to please inc, I do desiro'you ViDu. What you will, Can Orst-born of Egypb Come hero tou Mangala aud Nanikka, conie, ait, sit, and s song tosin Gay.No, I care not for thoir namesy thor owou wil MANIc. Woar for youl GAN You won't Locome a Pharonh by it.I'll go fetoh my mastera, (s Moro at your requost, than to pleaso mysell. VaDt.Cuine, Mang and Manik, let un sing thia inrocation, ao a R MANG.Shall o clop into Mroandly, wichout b uking, or spitting 1 can't find a suitablo rhymo for that Ducdame, but I'll play dack saying we are booraoi which are the only prologuss to a bad roice GiN Well then, it pver I thauk any man, J'll thank you bttbat SAx. I'fnith, Hlaith and both iu a tane like two gipsies n & horre. they call compliment, ia like the encountor of two dog-apes) and whon . drakos with tho name, " Academy" and call it Acadame. Come fol a men thanks me heartily, miethinks I havo givon him a punny, and mu, to tho Acndemy I Ducdame, duednme, Acadame. Ahl Ahl AL

Liko A. M. C. he rendora me the begearly thunks-Come sing ; aud you that will not, hold your tonguep5 · Liko A. M. C.

DUCDAME DUCDAME, DUCDAME.

COME, FOLLOW MC, TO THC ACADEMY. Energi Adapted from air by HIIL: VIDŪSHAKA.

Ducdume ucdnme ducdamo A - ca - dame elow fol - low fol - Jow.

MANIKKA

Ducdag ucdnme ducdame dncdame A- ca . dame whither | shall L, fol-low fol - low . thel P

யெங்குக Gua- 5 MANGAĻA,

THREE VOIFES. lucdame ducdame ducdaio en - dam demy de : my

SCENE I. (WHY CANNOT ALL INTERNATIONAL MUSIC BE CORRECTEF REPRODUCED IN WRITTEN LANGUAGE! '[F RXISTING METODS OF WRITING ARE IMPERFEOT, WHY NOT INPROVE TEEM!) Vidushaka. (alone) A d-d lot of i-i-idlora meet together here, and d-d-discuma all sorts of a-r-rubbish about what they tall the S-S-Scienco of Mu-Mu-Mualo. It is a m-m-motloy crowd, made up of cantaokorous o-c-crqtchety boings from,all parta of the w-w-world, and cach ono maintsins that bia aystem is tho L-b.bost. I, underatand nothing of their jargon, but I can 8-8-ping better than all of thom put together. Which is bottor? "Bf-faire sans dire" or "D-d-dire sans faire" ( Soluitur c-c-cantando, (Struts and siugs.

(Christy's Minstrela)

femons' Hon Con - rvontion was held at Humbug Greon, And such'e TLow of fuas and fonthors no'or boforo WA8 BOOD, With Malaya, Bantomn, Chitta - gonge, And

-4-

gamalowla deo und But Mister Roostor Shanghai put tho biggest swoll Sof 6 wAs rucklo cackle caoklo cacklo osokio cncklo. flap your wings and

crow. . And Shanghai crowed tho biggeat at tho Hon Corvention show. Tack tuck tuck tuck tuck tuck tuck tuck tuck tuck tuok tuck tuok tuck tuck tuck. Cock.a . doodlo doo

Enter MANIKKA and MANGALA But here aro somo of the g-g-goslings and g.g-ganderlings that keep cternally g-g-guggling and c-o-cackling at this Cock and Hen Convention ahow, which they call Ac-ac-academy.

AxIx.) Good morning, Lark. MlaNxo. But I don't see why thore should bo any difficalty in writing MAKG. For my part I wondor how it will look if expressod with the MtANG.) . Good night, Nightingalo. down whatovor we are ablo to sny or sing. A bave soon artificial ongus P Good noon, KOKILA. namos of the musical notes in writing. with imitstion Cannrien slugt Good evening, Cuckoo, Why " Cuckoo"! Can't you say " Thrush" or " Canary" ing and moving about more ViD. You will ever koop cuokling, you gosling, about s-a-scribbling? naturally than live birds them- MANIE. You soom to imagine that no one con help taking delight on Cuokoo's too good, man I you aro no better a warblur than. the solves. If you can wring.from Cuokoo &o. henring tho" nightingale's song, but there is n story toid of a man ncock, or the Jockdaw. iron and sterl suoh marvollous Cuokoo

powers of expression, I dont sou 8. TO. who wns ongnged as gardlener in n goutlemon's family-nnd who was E. 'Or the Jacknas, I should say. pormitted to livo within the grounda-asking to be allowes to chango But I'll put it more politely as the Poot has it, "you arn.no why your methods of writing should be so defoctivo. Now, I shall hia houso, and on being questionod aa to why he wanted to gire np ter s Nusician than the Wreu." "try nad writo down dor you bow the Cuckoo sings. (Writes) < 7so good a position, he answered that he could get nu sleep at night That's bocause ye geesn are al vays caokling here. You can't Vin. Iablishl I shanl show you how you cooks and jhens guggle and becanso "them naaty nightingales kopt up such a, ererlasting tocalizrare half to well as I do. You cau't S-r-solfeggiare one-fourth cackle bero and I dety any ouo of you to write it down an oorreotly gugsling !" Ccorroctly as I'do. Nor ean yon G-g-gorcheggiare one.millionth part as I"exprean it. (Sings again mimicking. A famous Hon Convontion .wnetly om I dn, 1 can ludtate thn aweet ilttle thrantx of uvery unn ... Huuglmg kroon .......... Cuck.a.doodlo.doo), MANO. Of courso thn fnct of theso hirde singing at night timp mnken

our prent U-b-birda of Rung, ent m-m mlmuick the chirsing eml huxhod ndde to tho dolight of listruing to thuir liquid notes. sttoring of crory ono of you, upetart littlo h-a-aparrows .- (lmitates.) MANO. Weil, I udmit, you now sing liko a Nightingulo. . oun of tho obarm uf their song, for evorything bolng trauquil aud

That's erquisltely well done; but supporo you try and writo It Vin., But you little Cuokoo, you have nevertheard how hidoons and Vin. L-l-liquid notes ! thnt gardoner was right, it's all a "guggling".

Awn for usand show on that binck board how yon erpreas these encophonous is the song of that ugly looking little bird-your

ands, whioh seem to Bow fronr your lipa aa cusily, naturslly and vaunted Nightingale. MANIK. Bat hear the Sweet Swan of Avon -;

Montaneousiy as from the sweet little throats of the birds them- MANIK. Why, my picture book tells mo how a well-known naturalist "The erow doth sing RR awerdly as the lark,

endeavoured to express ita wild melody and it is a capital description When neither is attonded ; and, I thiuk,

Ah I my dear Nightingale, that's moro than I can 'do for you. of it; I shall write it down foy you on thoblack board." The Nightingnl, if he should sing by day,

at why writo it down? Can't you hoar mo and then sing as I do? "Tiuu tinu tinu tiuu-spe tiu zqug- Wheu erery gu wo is cackling, would bo thought

Tio tio tiọ tio tio tio tio tix -Qutig qutio qutio qutio- No berter s musicinn than the Wron.

Thnt'a more than I can do. Ndither I,nor my brother Ishana can leara anything by tho car .. All wb learn ia solely Zquo zquo zquo zquo-Tzii tzil tzil tziijtzu tzii tzii tzii tzii tzi-e.,t, How many things by meason arasoned aro

Quoror tiu zyus pipiquisi -. Zozozozązozozozozozozozo zirrhadingi To thoir right pruise and true perfection."

h the help of the eyE. Wo must huye ovorything written down . MANU. No amount of sensoning will induco my eare to approcinte this y ua in black and white. VIn. Capital, capital. It is m-m-musienl with a v-v.vongeanco. cto., etc. le, true porfeotion. I must sceneverything with my eyes firet : but hero is (Singe) Riddlo mo, riddle me, Rlandy Roo. My fathergavo me seed to suw. TANIK, I was not at all dorry to writo tho eto., at the end, for I coulda't my brother-Lakshana, the exnet alter cgo of that musical gardener,

poasibly hro written apy moro of thet funny language, and you will suo how koen ho is nbout teriting down ororything. The sced was bluck, the ground was white (Adapted frpm Minnie Farlow's lcusons for children." VID. A c.o.curso on your O-c-cucocthes seribeadi !- Scribimus indecti Tell me within tomorrow night. doctique.

SCENE II. (WANTED,-A MADE-EASY SERIES FOR MASTERING, THE INTRICACIES QF THE DIVINE ART AS CULTIVATED IN EVERY PART OF THE GLODE, WITH THE LEAST EXPENSE GF TIME, TROUBLE AND MONEY.)

Enter LAK; NAINGAN:/JAY.

Dash it nil, man ; thie will never do. It is now threo yeurs sinco u began to din into mny oara, tho A, B, C of your Dravidizu CAN. You, mon of the old, school, pin us down to the Gamut lossons VAI. Why I some 12 yoars' hnrd toil would ho the vory loast.

atom of Mumid, and yet, I can't mako head or tail of it. for yonrs, nud won't teach us any thiog now, until it plossce LAK. Good heavons! 1 could pass a 120 Specinl Tosts within that time.

Hallo! is that my fnult: I hnve triod my. bost; but you aru you to say thet wo are advancing. You drivo us mad. VID. I am a 1-l-living proof of it. JAY. I have hoard a European Professor of Musio say, that eren among

our-blind and have no oar at all for muaic. hia countrymen, ono muat bo kickod woll for 14 yoars, beforo ho can

Why, man, I am uo better than tho dunoo, who nftor hoaring the VAL. Slowly and surely, is tho gale i thingondone by halvor are neyer dono right. What is the, good, if allishat i tunoh Euters by, ono call hjmself e mastor in tho Art.

MÃ YANA ali night, saked nert day what kin SITA wus to HAMA Was that tho fault of the story-tollor o phry and Arit by the othor? GAN, That was all vory woll for our gront grand fntbors, but now wo Lir Yen, bnt in ruoso dayu, whea overy thing is loarnt from a Mado havo gut so muoh to" lonrn, that we must do orery thiog within tho

Of courso rit proves how badly the atory was told ! Easy-Sorirs, wo must n.ove with ligbtning spoed, we are carried from twinkling of an oye. Life is becoming whorter and sborter.

door to door by Elootricity, apd may soon begiu to fy on, wings. VAI. Life mny be short, but Art is long. That's yery nico. .And you GiNA, bow ubout yourself ? GAN. Stulf and nonsenso! My sintor Lakahmi mastered the VINA in I have just mastorod the Alplialnt ; but you bring in, at overy GAN. Why l wo hear e bund play at tho. ohior end of the world sir months I Now, look horu. Can you slow re s rough and ready way Fp. so many hard nuts to cruek, nud ao miany thiu huire to aplit, thath and a small bor by ous side qaietly awallows down all that is for leurning muaio at a glanco, or not? If uot, I must giro you op braine aehg and my hoad rools. played, aud roposts it exactly, whenevur, we. want to hoar, it again.

I can'trliolp thneibow did I lesen it nll, co you think ? Thero VID. Ido thinge more ensily still: Like old Cwsar, I come, I hear, I sing. LAX. I quito agree.

no toiug without painei no rosea without .: Sorns, JAY. Howf.long wil int take, fore beginner, do you think, to mastor VAL. O tempora 1. O mores ! horougLily the Praidien Art ? ViD.T-f.tempora mu-mu-mutantur, Ros at mu-iru-mutamur in illis.

SCENE III. (THE STAFPYNOTATION SISTEM IS THE KASIEST OF ALL EXISTING METHODS FOR MASTERING THE TECUNICALITIES OF INTERNATIONAL MUSIC OF EVERT DESCRIPTION) Enter M A.D. and & A R.

Sas. I heard they wore toncbing both European and Drsridian Muslo GAN. Oht I shonld liko so soo lt; our mothode nro so Imporfoct. JAY. My motto is, "Thoro ls no auch thing ne iesponsihle": tat wun horo; and and koow only Hindustani Munic, I thought I would como JAY Tho fow eymbols naod theroin nro botter attod to ospress what is nut in my diotionary , to ono who linnn will thete in alwnys a w oror with Hadhure and try to learn tho other pyatoms na, well.1 Ia required in Muelo, than tho chnractors of all tho writton alphabots ip the world aro capable of expressing artioulate sounds. GAN, Who ovnr did tako roal troublo to note down uer melodien properly GAN. You are right yelcome; wo should bo glad to loarn Hindontani and failud P No doubt, the dillicaltios of the wyatem Appenr at firat kigh munio too; it ia liked by so many of our peopio, LAE.A Do you mean to any that musie of all kinds can bo written in that languago and thnt any one can read it ? insurmountable, and mnny loading authoritira haso been minled 1 ID. B-b-birds of a f-fenther il-f-flock together. you, Alusicians of tho country, who mystify cyerything marvellous! LAx. Bat for all this, we must have a written langungo, dopicting JAY. Yea; I divud into the matter thoroughly, nnd I now believo that everytbing in the strongest colonra and orposing to our gaz0 every any ono oan road tho Mugio at first sight, and grasp the menning of MAD. You are dircot descendants of thoso dreamy philosophers of old

mainute dotail ip the cleareat manner pouaible, so thnt we mny clearly what ia writton. much more cusily and roodily than from the symbole who declared all motion to bu impomsible. A very siapln praetical demonatratioo hns cxploded your theors: Felutum est ambalands. "henr with our eyon and aco with our cars." uaed in any othor langungo. VID. What noxt? yon must loarn to e-s-speak with your a.p-nose and VAI. But cortaialy not ao with our Dravitlian Music ? VAt. The question in, hss your amtulando rolution been pucressful ?

B-s-amell with your t-t.tongue, I suppose ! BIAD. Why net? I can prove that nvory thing which is renlly good JAY. In nny caso, Labor omnia rincit imprabns, aud it in idle

LAK Picture booka, objoct lessons, ktudergurten mennala, &c., ore, the music can be ao writen; for it is all made up of signs and pronounco a thing finpossiblo heforo putting your shoutders to the

order of the day t aad il Music ia to keep paeo with tho times, wo symbols,-not-alphabetical characters, nnd any number wheel and trying all yoor atrongth nt it.

must havo something more tangiblo to the eye. It ia only then wo of frosh typesmay bo cast, to ezpress clearly whatever is wantod LAK. Of course, oven the bent coloured photon do not reprndoco thei can mako epmething of it. VAT. Nonsonse! you mny sooner catch the air in your, hand and put it originals exsctly, nnd the clenront motjuals of writing fuilto portray JAT. The Europoan friand, I spoke of just now, showed mo a very into your pocket, than put down one of our RAUAS in writing. ho full vividnens of a personal delivery. But we grow wiser every aarious book, full of the most wonderful hierogls phics which ho called *VID. Better nay, you may sooner catch the e-c-clephant and place him dny ind fnust improvo our written Jangnnges We may fail at Notation, and said it was tho written Jangange used for, the under your e-e-clbow, -- or put him into a pot, as the proverb goes. first, but wo must persist nnd go on trying till we suecced. musie of his pountry. It is as pictocial as you cun wish and will jost VAl. At any rate it will bo uttorly impossible to reproduce all onr MAD. Lonk here, Manikka and Mangaln, givo ns thut CATCH, " Try moet(your, wants. GAMAKAS (Graces) in any writton language sgain" which you pang at the distribution of prizes the other dny.

MANGALA.

Tis lesson you should beer try try try n - gnin first you don't sucecud trv

MANIKKA

lesson you should heed ftry try try a -: gain If t first you don't succeed.' try- oh try try n-gain

Var. I can't holp luughing at all this bosh I but whnt is' thero in thia JAY. Tho Stnll Notation, I saw, Is botter than Sunsgrit, andohan difforont .Yoms let un exnminn every thiny, nnd chuosa the bert:i KOTATION, which you don't find in any other written laugungo? sigas to show all sorts of chnnges in tho value, duration, doa of tho still Iin nny defocts, let un introluce all the neermsary improynmente aud mnko the systom nn perfert as we enn. At any rate, let ua not LAE. But why laugh before you eramine or try to anderstand ?. sounds, and seema to be as perfect as can bo wished. GAN. If so, I,should thank syou to Bring'over to us tho'Europesn sit idle. folding onr handa nnd may "it is impeimsible."

JAT. Just seel Writo down tho words hut, hate, hall, and academy; how gentleman with his wonderful book at once. VAL. ( Aside) 1 am three scoro years and ten, ahd I have never felt the many different sounds aro expressod by the one lotter a ; then it yon want of this coufounded wricten language. I retain more mnsic and

wrant to dwell mach lenger on that letter, as iu the word ah l yon huve MAD. (a.ide.)' I havo here by me a colosaal work, which has practical)y words in my memory than ail the linguiatic and acientifc lore

no means of writing it. Bo with lols of other lettrre accomplished for Indian music althat theso seoptics ero yearning acquired by whole generations of theso youngetors. Cui bono? for; not only have tho difficultien of tranalnting the Muaio intn JAY. Very woll, wait juxt n minute. I'll bring the Europenn geotleman VID. Why take Eogliah ? Of nil the I-l-langnages I know, (and I know. a 1-1-lot,-that is to my-the h-h-heads for a b-h-bundred and the Staff Notation been mirsculously overcome, but all the claasical Musio who ia a very good Violinint, as well as a friend of hin, who in a

t-t-taile for a t-t thousnnd) this alphabet is tho worst; S-s-sanscrit is of the country, that would otherwiso have hopelessly perished, has splendid Pianist. They ate good scholars and will be invaluabh

the most p-p-perfect of ail. been providentially preserved, but I won't show it to them until acqniaitions to our Acxdemy. VID. Some mnore neceasions to tho f-f-family of i-i-i-idiota. (Ezit' they dimnbuse themselves fully of all their prejudices and dolusione.

SCENE. IV. (CAN POWER TO APPRECIATE MUSIC BE ACQUIRED? OR I8 IT A GIFT? CAN 4DL ATTEMPT TO BECOME ,SKILLFUL IN THE DIVINE ART')

LAE.Look bere, Gang, you maid junt now that Suu hind mastered the alphabet of muaic t liang me, if I know what the nlphabet is! LAK. But I ani doaf and dumb in thia respect and can noithor henr Man. Thero can be no fniluro if nn honest trial in mada. There aro

Why mao, I can't mako out tho cawing of n crow from the cooing of nor sponk this languago of music, us you call'it. courno very high degrees of exeellenre whirh enunot be nttained 2

a cuekoo, nor can I toll, if thn riuging of that boll is swector thon VID. But you nro not b-b-blind'and while thero is 1-1-life, there is all, just as in grory other wolk of life: but patienco and study Ro

thạt the thumping of thia ciub. 1-h-bopo, You can henr with your nyos, and sing with your nono. grent way ta overcome all diflieulties, nud in the aeqnisitinn of nuch

ND. A g.g-genius! "A p-p.prodigy !! 1 GAN. It is simply becaueg yon don't caro for Music, and you drivo away sweet art, it ought to be n lnbour of love aud a sery pleasant one. VAI. Amongso us, the fient sine qua non to Lo reruguised a ,roni Maxicit NAno. lsjnot my orother the einct alter cpo of that mneiral gardener! your nttontion to something olse wilfully and deliborntely, the momeut GAH. Woll, it ie your own fault; yon 'murt train your enr by patient you henr a noto of it. in to bo nblo to Judge by the parmnd any without hesitation in wb

LAE. Thet is not my fault, but of the music itself. Mode and Meltaly-mould n certain piece in snng, on hearing it for : .i stady, juat na rou plod over wo many of your mpncinl terts. Let first time. The next trinl of skill eonsists in identifsing the RAG the University make Slusic, compulsory, and you will see how soon Vgu. Yes: the faule always lics in the grupe and not in the for. even when its trun physingnomy is dispuised by the introduct you master it. of fentoros cuinioon to other melody-moulds LAr. Indecd tho University can make my enra more mnxical l GAt. Music in open to you just like overy other branch of learning. But it is not uren an optional subjeet now, and so you don'u want MAn. Amongst Europenna, grenl, importance isarached tothecultieat GAN. Cortainly, by forcing you to trnin them. even to tlank of it. of the our from the very onset so as " to givo the papil the fueling

VID. A b-b-bird thet c.o-can sing nnd w.w.won'taing muat be m-m-mado LAK. But I want to learn it. At every concort, poople shako thoir heads tonality, which is the faoulty of rreognising, on the ximplo bosr

to sing, saya tho proverb. and clap their hauds, crying Hurrah! Encore., and seem to be in of an sir,-

LAt. But they say, it is a specini Uift, liko Prophecy nnd Pocay, sod eestusies f I can't underatand it, but I want to get to tho bottom (i) Whnt oach noto roprerenta, whether is bo tho tonic (the f it of it all. There can be no moke without a firo. noto of the senlo in wrich the air is written:, whether it be that all canuot sapire to bo skillful in tho Divino Art. GAN. No doubt, some aro more gifted than others, liko my sisters GAN. The seeret is, you don't want o oultivnto a taste for music; dominant (ffth noto of the seale), or the leiding note (seventh) :

Manikka and Nangala here, who eatch rondily any air they honr, somo have a taste for oro branch, and soino for another, it is moroly (ii) go feol the nttraetion or supremaey which the tonie cien

tho result of training, sooinl habita family usages, inheritance nud over the other notes; and sing it atraight off, without a tlaw, the very nust minute. so forth. If the pareuts aro good musicjans, the children are so too, (iii) To feel tho relationship which caists between the sarions n

VID. And so do I: Venio, vidco, vocaliso. as u rule; ono'a surroundings and adsociationa determino overy thing. of the seale ; and

LAc. That is juat, what I con't do. I say, after honring an air over (iv) To bo nble to tell, by the enr, in what koy'a pieco is wri LAK. Not i bit of it. I think ono wust be a born musicisn, as ono This last fuculty is ouo of tho rarest, must essentislly opontar and over ngain for a hundred yenrs. muat .bo n born poet. Bomobody told me, that our groat mnator and prtistie; it ls ditlicult to aequire, even with the most persev. VAL. Onthe otber hand, I have seen mon, who did not know a note of TYAGAYYA was of the same opinion, for ho sang in one of hin and methodienl praotice ......... The fnculty duem, howerer, .

musie playon tbeir ipstraments nli sorts of melodiee they had heard favourito RAGAS; BITAVARA SANGITA SASTRA GNĀNAMU but they eaid they did it mechanically and solely by car. DRATA VRAYAVALERA: Aptitudo for musio must bo writton Therw are many pouple who not ouly can teil tho key of a piceo D on any piano tuned to any pitch, but even tho nnme of any

SAR. And I have heerd from travollers that most prople in the North on onv'e hond by the Doity. ntruck oithor by iuolf or with other heterngencous notem"

of India sing in tho most fascinating mouner, withont evou kaowing VID. I thought only h.h.hanging and w-riving wont by d.d-destiny; M-M .musio makes very good c-c-company. LAK. It ia simply preposterony to eipeet that, with the ears Ihi r. that the notos have names. 1: GAN. That was Tyagayya's opinion; I sappose he wantod to show its should even dreai of acquiring ans of theso rure fwoulties. GAN. Why dream of such rare fnculties rdi at enco ? Yon may nei -ire to the b.L-birde of the air. dlvine wrigin, And lta auperlor nxnailenen, thnb wan all."

GAM. Or say, they are like chikiren epenking their mothor-tongue, befure MAD. I have road of inuumorable prodigies in Musio both in the Wont and In the Hant, yls, of preopolons ypungstora who haro' boat Lho bent LAx. But why whato my tiujo over Nusio? lu may ui be lnhour lesrning bow to rund or writo. To bu able tu epesk a mothur-tonguo mastors at an ingredibly early ago: but thoso are oxcoptions, tho VAL. But why Aght ahuut Lida ? lt un wait nut are, whal thn Kúr is bot a spycial gift but the inheritance of all, except the mule and the dpmb .. Bnt. civilised people nre not content to spesk correctiy majority aro self-made mon." musicians, whom Jaye in gone to fetoh, hin gut ln sny on the m

but leara to read and write very early inlife. Some speak aud LAK. But why should somo excel in other branchos and fail in this ? LAK. I Any, all cannol bo musiciana, and myee !! set at all

write uery doently. and well by unture, others very budls, Lut N. I say, simply becnuso it is not obligatory. GAN. Ieny, all canyan l yoursolf the firat of a!l. improre a great deal hy training and study. LAE. Evon if it is inado obligntory, I am suro, I will always fail, wlthough.1 may try ever so often. . M. I.unay on " Mument eryresstren."

ae ot coprso thoro wil' Lu digerent dogrops of prodeicucs os with, VAiaLook her,,thin, will aprucidgsdboneror you guatrel Hko thie, ayer from mrrey Luncashire; I plity tA ity ths bygle. RT other acience and art' Bue one can always loarpe sall rlug the boll, and thon yormast stpp. Huw, como on, my

LAx.You ara an oprgdtre. darlingnMangalo and Mahirkeepet giro us a tane oqub of yuu ; lul LAYNO. us Lear, pull Jaya rotutne. 9(Thay hesitats) GAN.I MYYes. GAN. You aro a fetla. Viop.y Omnibus i hoc vitium cst cantoribus .unum, Tan- tanwte ra tan . tan-ta-ro lan . tan.ta- ra tan. tan LAEedbero to my opinion. LAx. You arg ag idiot. Ut munquam inducunt animor 'cantare soyati. Bombomburom bombomburow bowsbomiborou bomboml GAn And I to miue. GAN. You are an asE LAK. AOb, don'abe shilly-shaliying sbout it do sing by all mienns. To me, "it in no miatter how it be in tune pont inake noisu epough." LAK:,, That is good music and a One loud voice I VIDU. Bnoagh of w.w.words; como now to b-b-bluws. Vinu. I'll antiafyyou then : (Singe obatreperously ;- "I am a trolling") VAL. Now, Munikka,let an hare somotbing igoro sobor wod

MANIKKA

SINGS

FIRST WITH NOTES ரகும் - ப கோ

Merrily)

ETHEN WITH. WORDS. eu ir LOLO

KELA No. 28-HARIEAMBODHI. 0

RAGAS SAMPURNA.) தான் G

.4 TALA-TRISRA JATI LAGIU 6ம 1n สนา

MANG. Goodneas gracious! who taught you to sing this tund so? MANIK. No, I bave heard it ac sung by tho best of musioiana. MANe.'Thon they are no musicians at nll. MANG. This shows how tho best mnaterpieces aro mutt fo MANIK. Whyl this is how every body ainge it. MANo. It ia all wrong, I may. MANIK. You are a muoh grenter authority, aro you P vulgar and how the finest melodies mny be sabjected to id

MAsix. Nonsense, howr do you know ? MANG. No, Lnt what is wrong is wroug and I must call a spado u spado. durision! It is w most disgrannful parody on tho origiun MAxIx. Goodneas gracious! you aro bexido yourself with ru p1. MAso. It ia aimply monstrous,-outrageous,-odiouk! MANIK. Bnt where, is the mistako 1 don't see. MANG. You bave poured molten lead into u.y cars. Masir. Bot how? MAso .. It is a most abominable corruption of a mont exquisito air. MANIK. Then sing it correctly yourself, let us hear. MaNo .. Only atreet beggars uind giobe trotters sing it like that. MANIE. It is quito plonsnnt apd jolly, as it is ; what.moro do you want? VIDU. Take b-b-breath Dow aud cool down a b-b-bit Grut.

MANGALA .SING S. Sun - ko FIRST WITH NOTES Sam - Dho Si - Yo Sun - kn - rO San - kn . In San - ka ra Sam 1

3 AND (Devoutly) 12 9 c 9 THEN WITH WORDS. Fin.

NEEA No. 15-MALAVA GAULA. Sun kan ra Sam - bho D1 - VO San n - ka - ra San - ka - ra San ka - ra BAGA-NADANAMAKRIYA 12 5 TALA-MISRA JATI CHAPU. LD ID

VALN. Mangala was right, Manikka was wrong. VAIN. Yeu, though the names are identical, the pitoh of the sounds is VAIN. Of course wo have different names in tho acience, . g., different, for, Manik took the RI and DH A higher and Mang. the Rl and RI nnd DHA aro calied SUDDIIA and the highor ordinu LAEWhy the dickens, they both sang it exactly slike, Dia lower, while Manik, took the NI lower aud Mfang. the NI higher. SRUTI hut mure correetly PANCHASRUTI. Similarly, GAN. Certainly not. There was s world of difference botween the two! LAE. Then why on earth do you give the same pames to two difforent is oalled KAISTKI aud the higher KAKALI. But as wo e a't LAL, Nousanse Eren the names of the notes thoy pronounced were "suunds ? why not call the higher a horse and the lower an aas? these nomes, we uso the same abbreviated syllables and ery Texactly the anma. My enrs sre good enough to see that. VAiN That is not nocossary ; we oxperts oasily distinguish tho various understood it well enough these thousands of vears. GAx. Yes, bat the pitch was dillerout, as well as the durntion. whades of difference in theso sounds. GAN. Certainly tms is quite plain rnough. Repeat that ait on LAx. I defy you to prove it, thoogh you are so doggedly dogmat. nnd Munilh. Don't you seo that the DIA (6th) is ioid abont it. I'll bet, you sro wrong. Lax. Confound your expertness, "I sny ; your aystem is not at all Gret and lower in the second, and the NI (7th) just the r ersi Gix. Then the barden of proof falls upon you. f suitod for plain, senaiblo, mutter of fact men liko mo." GAN. It suite me admirably well though, notwithetauding thut thero LAK. Upon my word. I don't: on the contrary, your us SIDu. Quod erat demnadlrandum !!. mny bo a few nunvoidablo defects in it, as in overythiug human. cunfounded names congris me in my own conviction. LAT. Look here, Manik, repeat pow the netea of the Ist half of the LAL. Then remedy, your defecta nt once, I say, befora I.put my foger MAD. (Asuie) We have recently discovered excellont substi strain; (Manik, sings in mode No. 28 ;; and you, Maug. do the same as into iti . I met havo everything quite consistent and perfeet. names, but I'll bido my time, which has not rot come. i you sang it (Mang. repeata in modo No. 15). VAIN. Well then ; I shall show yon the differouce on my IN AE Are not the notes identical? surely you tannot deny that. VAIN.' Let us bavo none of yonr, modern reforma plerse, we havo muunged these 3,000 years well onough with these homen. in unison with the singers and esplains the difference). GaN. They are not identigal, thn gh uy an odd convention univorsally L.AK. I nm aimply n linh ont of water hore. recogaised, the numes of the notes hinppen to bo the saine. LAK. . But why not enll n spede n apado and n hno n hoe. Vipu. Better bo a fowl in tho water; ery, Cook-a-doodle-d

SCENE V.

(TFERENCES DETWEEN WESTERN AND RASTERN MUSIC. THE LEADING NOTE, USE, OF ACCIDENTALS. MODULATION INTO KINDRKD SCALES.) Eater JAY, P/iund ViO1 .. Viot. I hoard somo fne musio ox I- wes coiing in, and stopped at the PIA. But how on carth is thut P. this one was all opt of tune and did not VIOL. Why, man, that is aimply our MAJOR SCALE, but cit .door, qaito ontranced by tho charms of the Divino Art , for, go where keop time at all; the frat was quito in tune and kept good timo. wrongly taken ns llat; I don't know why you do ti t you will, thoro is nothing on Barth wuich gives equal ploasare; nor is LAK. These follows aro no battor, I see; they must ull bo atark mad. I I sing it (Sings with the B natural both in ascending ane nes thero anything in Hearen, which delights tho celestiala .noro! In fact, couldn't soe the shade of a difference between the twol Maaic aluno gives us a foretaste of the juys of Heaven, hrro below : GAN. Look bere, Vainika, can't you tell' us whero the differonce lies ? Lax. Well, if this is tho sort of Musio wo aro going to havo in Hearen, I don't supposo it is worth going thore at all. VAIN. Apy child can any that; Manikku eang it in tho MELA called HAREKAMBODII and TALA called TRISRA JATI LAGHU, whilo VIDE. Then you must go to Hell; but even there, you can't get over Nungala sanglit in the RAGA called NADANAMAKRIYA and DO, RE, MI, FA, SOL, LA, 81,

Music, for, they teach us in ph-ph-physica that tl-f-fames can cing, TALA called MISRA JATI CHAPU, VAIs. Ah! ahl nh! you don't sing in MELA, HARIKAM DI aud this makos Music for the dovils, I imaginc. VIOL. What long uaines, by Henvon | Repoat thom ngain pleasc. Wha did; but in MEĻA,-ŞANKARABHARANA; tho for ier P'IA. Dut I ,heard two voices singing the same air a little differently. f did you onll Manikka's tuae which PIA, said was the moro correot ? 28th and the latter the 29th of our 72 modes. tho second seemed to mo very atrango and queer, but the frat was VAIN. Sho sang it in MELA,-HARIKAMBODHL Viot. (aside to P'IA.) Sevonty-two modes nghin ! the man mua be delighttul emay 1 hear them nguin P ViOL. What tho dickena is that P Pi. 1 knew they had n lot of modcs, but 72 is abaurd, v lesy VAIN. Wall, Mentiin, ENCORE (Manikke wings as before.) VAIN. It is the 28th of our 72 modense they ase quarter-tonos and includo all sorts of chror itic Pis. That's very good ; thnt is just what I liked, ulthongh the nccoota VioL. 72 modos, by Jove ! Will'you ploaso gives us its soale or gamut P quito icreconciinble with our notions of modern tonality.

soem to bo a'littlo misplnced. YAIN. (Singe with the D flat both in ascending and descending.) TIOL. Wo hud bettor anake auro of, this Grst. Look her

TALN, Noy.agale, yuy bolter aing it in our way. (Mangala,sings.) many .intervaln do you recogniso within a octaro ?

B Pis. Which dosoa saye Fh righs? maby main divisiona do you aplit up the ecale in cach ut wronh, Mangala mas right it. the fret note or Tonic to i's Octave or higher replicate fi al recogniso the nelarr as the terminal limiit.of evers acc :. .

19

AIN We reckon 8 unggusi poles in each acale, iucluding thu octare, LAx. Becausa they all grow beautifylly loas, you want mo to bolioro witl twolre oqual intervalebet ween the two oxtromos, aud wo mauu that the greateat oro loweat, and tho lcast tho highest! LAK. I don't boliovo in half of your modern revolations ; but . i denling with musio, and cluar as A, B, C, yonr vibrntion th wy facture all our 72 Modos with the Lolp of those 12 iutervals only. VIOL. You will aoo that it is tho samnesrith tho position of notes in out at soa j why should somo vibrations prouro a nweet pour .1 PIA. 'Are you auro ? Itare you ataotly 12 somitones and no mure? and tho Violin. As you: go higher, tho notos aro taken neuror, othors a honrso noiso? Why should I bo cqnaly eatlous to ath are they all equal ? > Yougnderstand, wre don't Leliovu it. VIDU. That simply provos that your twiddle-doo-fiddlo is also Then why should you nlone be ablo to vibrato nud net 1? YAiN. Why! Wo haro just 12 somitonio notes, oreluding tho octavo, riddle-me-riddle. What elso ?. PIA. The bluck and white koys of the Piano and Harmouium show you GAN. Then take any of thoso instruments ; there is surely much cate hand they are all egcidiataut. If youllike, I shall play and show thou reverberation which rosounde through the room whea tho to you on my VINA, which you soo hus just 24 frets fer a longth of that the distances botween the 12 semitones aro oxactly oqual. twe octaves. The spaces betwogn thu frets are all semitones. LAK. Though tho reods und tho strings within tell quite n different talo notes are struck, than when tho highest notes aro touched. wer

PIA. You nro confonnding intormediate distauces with component PIA. But don't you soo thnt the larger the size, tho greater th Vsor Let us compare tha pitch with the Piauo and-the Violin, for this is the most important point to bo clearcd up. magnitudes. The former are equal; the latter vary. must be, while the very bulk, length and woight reduco tho < mn3 foro

LAK. It is just tho rovorse on the VINA; the intervals vary, tho frota of wavo-motions posaiblo Pi.(All thres play). It is oractly tho samo : so for so good. MAD. Let this romovo ronco for all the graatust of all delusion are oqual in shape, magnitude, &o. GAN. How about the cronking of frogs or the acreeching of owlal MAD. But it is tho longth of the chords stopped by tho frets that you is very littlo bulk, weight or force in them, yet they aplit the consected with the Musio of this conutry, which iufest the winds of . must take into the comparisou, not the frots the msclves. LAE. I am suro your grandsous will propound quite a different most people, both here nud abroad. No quartor-tonos cxist as such, LAE. It's nll a paradox! in oxplanation of the phenomenon. in tho Dravidian schome of MELAS or modes. VIGL. But ns yon dread parodores, let mo tell yon that it has bcen MIAD. Our own viows about NADORPATTI (origin of sound) art tait Prk. That is quito satiafactory. PErgo erravimus! proved by physical experiments that the lowest or deepest notes difforout. It is a purely physiological question.

LAK But wait a bit; thia d.d Musio of yours is full of paradoxes and which require the largest volume of air or strength to sound them PIA. But all this Solongs to Acousticr, which in anothor acionci contradiotions. How on corth ean you say thnt tho 12 xomitones aro properly, consist of the smallest numbor of vibrations, while the highest and shrillest notes roquiro an onormously larger number of gether. Why do you bother yourself ahout it now. Let that alt

all equal, whon I soo plainly, with my eyes wido open, thut the frots oscillations or undulaticns ae they, onll them. LAK. Whnt is astonighing to me is tho anomnly in tho caso of du who in-your VINA are fixed much more apart at. the bottom, and draw LAK. Well, I don't boliove in your oscillation or undulation theorios, for and mngnitudes which is quite percoptiblo to the eye,,nud nearor to ono anothes by dogrece, till they are quito closely puckod togother at tho top. Am I to belioro what I seo with my own cyes, J fool nbaolutely no vibrationa. In my lungs or my gullot whon I shout understnnd why your car shonld bolio my eye so treaghe Jus VIDU. I therefore ndvised you not only to seo with thn inr ni or what I hear through your oars, for iny own cars aro dumb, you or grant with all my might: aud I am auro nono of theso youngetora with the eye but nlso te tanto with your noar, nnd amel hon

say. It is all a dreadfpl riddle to'me. aro conscious of any sovore spasms, jrhon they squonk nnd shrick no screcchingly at the top of their sharp shrill voices. According to your tongne, so na to bo ablo to nparscinto musio propr y an

IDU. (Sings) Riddie me, riddle me, Randy Roe, your theory, tho number of oscilations ought to split their pates. rulinh it with a much grentor gusto. LAK. Even if you ndd your & sonses and the 5 elements witl twic Fars or eyes, I hardly know, VIOL. Their nomber may bo greater, while thoir forco or strength llad I stay or better go ? Hiandy-dands, Tos or no ? may at the same time be com paratively smaller. the quantity of rour brains so as to mnke n total of 12, yo make mny eyes bolieve that your 12 aemitonic intervals are eq I. LAK! Number is strongth, I'nlways belioved. Evorything in yonr TinLook at the size of the reeds in this Hurmonium and the length d-d miusic is topxido t'other way ! VAIN. Whatover oxplanntions you may gire, the aimple mo ! wl

of the strings in this Piano the lowest notes are represented by Pi. How about thn images of objecta roflected on your rotiua? Are remnin that thore is mnch more mystery in tho siinplest pher mep

much greater magoitudes, while the highest ones are conteut with they not topsy-turvy too ? i of nature than your physics or philosophy can ever venture to i mre yary small dimensions, eractly as in the intorspaces of the VINA Viot. And Ro with hundreds of other nfodern rovolations in Physics. Vinu. This is all pkittles: you're simply cracking riddles h.er your erneked fiddles and your half-cracked nodales! wit

Strings of the PIANO. Chords and Frets of the VINA. Reeds of the HARMONI TAE

Lowest Highest Loweat. Il me

D. O. M.

Pin But como to the point : wo were taiking of your 72 modes. Pu. Why the dickens, here is another topsy-turvy business. We in our VioL. Well, 1 for ono havo alwnys coudemned the modern mar & fc Viol. Yea, what is tho differonce betwern your 25th an1 29th Moles: systom have beeu toiling for centuries to approach nenrer nud noarur LAE. Al I know is that the digeronco btween 29 and 2S is one! tu the Touic, and wo consider the discovery of tho Leading notu to bo sbarpening these cndencee as murderous and iniquitous in tho er em

Vars. Yes, and all the difforonco lies in Lnt one noto ; (ne., aofa astheir the greateat triumph in tho developmont of the art; but you seem to Pis. Wo have to sharpen them only beenuso tho strong nud lond fai

phiz is coucerned) ; in the 28th. mode, the NISHADAM is KMSIRI have uon receding furthor and furthor back from tho Tonic! of Hurmony imperiously over-ride the by far inferior cli us Melody; and wo bave nrrived ut such an ndvanced ntagu of de elop and in the 20th it is KAKALI, Le., the 7th note of the acnlo ia lower LAK. Which is retrogressive und which pragrassive? EhlI Approaching ment that wo simply despise Melody unaceompanied by Harm y!

in the former and higher in the Intter. the goal or receding from it P Recte or retro P MAD. But I nm aponking wolely from a Molodie point of viow, d VIOL. That is, the B flat and B Datural. Is there no other differeuce? Viot. How on curth can tho A natural, which is 14 miles nwny from tho caunot bnt regard tho nemitonio clono of your lending n 0

VAI. Ko, nono iu tho main modes. key-note, serve the purpose of the 7th ? in, other words, how can the tonic as the very last us well as tho lenst of nll eftectivo ca

VIOL. Then the lower 7th is merely an Acridental, i.c., n note not the Gth possibly Irad to a satisfaotory cluso upon the 8ch ? for however well suited and indispensablo it may bo for purg

belonging to the scale, but brought in for variety and cucct. MAD. Ah! there is the rub! the triumph of art over theory, of brain Harmony, it apponrs to us to bo cssentinlly efteminnte, car-dy ttin

VAIx. Not a bit of it ; the lower 7th is the life and soul of the 28th over muscle, of the East over the West. It is not onty in 30 of our and heart-brenking for purely melodic purposes.

mode ; you can't bring in any thing foreign, for effeet as you say in main modes, bnt nlso in most of our derivative RtAGAS in othor Pia. It requires n fot of pationce to denl with yon, crossr aine

our muslo. Unco yga take up tho mode with the lower 7th, you munt modes, that wo purposoly eliminato your lending poto: wo profor by crochety, cantankerous chaps; bat nll I'll now any is that I fir tnstos nud idoas dinmutrically opposed to ours in ovory romper sing thronghout the piece in that miode, and never introduce auy other far tho lenp from A to C, which by our rolined mothods of pluying 7th, which, under onr system, is not admissible in that mode. and singing.with GAMAKAS, is rendered uxceodingly sublimo and VioL. But come now to ACCIDENTALS: 1 thought, yu

PIA. Stuff and. nonsence: if you sing throughout with the lower 7th grand. Vainika, you bettor gire him a fow oxamples. (Fuin. plays.) you disallowed them entirely.

which in your LEADING NOTE? i.c., that which leads the con- PiA. Surely this is putting tho ,dart Loforo tho horao. VAIN. Yes, our melodies must be puro aud unndulteratod: nbs atel

clasion of the piece to, the Tonio or final note of rest. Vibu. To me it has always. been plain that these fellowa had their no foregin clements can be interpolated therein.

VioL. But rst of- all, let us know on what notes you conclude or heele over their beads aud their brains in their buttockni PIA. But do you really menn to sas that you never uso any kh ps

closs your melodies, as a geueral rale? MAD. Our experionco is this: tho moat mngnificent of all oloses is youra Ints nt all, oven as nocidontnla ;- in other words, do yon neve

VAIN. Invariably with the SRUTI notes, i.r., with the key-note or of the Baes from the Domisnnt to thy Tonio (5th to 8th, with an or lowor your notes, slightly for the aako of variety, even whe yo

Tonic in almost all cases, Sut occasionally with the Sth or Dominant; interval of 2} tones). musical iustinets, if you have any, clearly demaud it?

the Iatter is however dong morg as a matter of license und caprice PIt. True, but we never use it by itsolf : its effect is enhanced by its VAIN. Certainly, not we, men of scienco ; our rules and regulat

than in accordance with precept or principle. The tonic is the rule. combination in other parts of the harmony with tbe indispensable tho subject aro inexorablo. Of course, the vulgar don't kuow tho

Pia. Then tho imputation that you ond your melodics with any noto you leading note resolving itself into the tonic, tho semitonic fall from the and muko egrogious mistakes, but that is nothing to the oin

like and that you have no fixed rulus on the subject is wrong. fourth to the third, &c. GAN. But how about some of our RAGAS, like KAMBODHI, BHAI CA MAD. Utterly wrong) this is another of tho great delusions which VAIN. But tho fact romains that the vigorons bound from tho oth to MUKIJARI, SAURASIITRA, ete., which I thought were erce ti

superficial obsorvers have lod you into and the sooucr you disabuso tho 8th is the most stately and majoatio of all closee, and wo ndopt to tho rule? Accidontals creep in occasionnlly in them.

youraclves of it tho better. it in hundreds of our RAGAS.WE ViDu. They are ovidently huterogoneous, if not heterodox!

VIOL. Now then abont the LEADING NOTE; do yoa not close MAD. Noxt in grandeur and solemnity is the leap from A fut to C VaIN. Yes, those derivative RAGAS havo been imported from . tsi

all your melodies with the higher 7th, as in your 29th modp,-(i.c., (2 full tones) as in our RAGAS BHUPALA, SAVĒRI, KALĀVATI, the Dravidian country, nx their names impl, and wo troat th n

whenever the 7th is followed by the onal Tonic). &c. Then follows the skip from A natural to C (1} tones) as in YAIN. Good heavens! why should wef what then is the object of baving KAMBODIII, MUKHARI, MOHANA and a lot of others. illegitimato and exotic. In short, they stind oxcommunicated. L.AK. Whut on carth is Esotio and whnt the doucu Derivativo ?

7e molos, if there is to bo no varioty in this respect ? CANA. The bare mnames of theso exquisitoly boautiful RAGAS aro a MAD. (i) The 72 modes torming tho Primery scales, or JANAKAR GA

MAD. We rccognise 3 Seredtbe, which correspond respectively with yonr suficient guarantoe to us to eubstantiato the absolute corroctness. of lis assertion, Howover crab-like may appoar his back-slidiog. aro clussed ns RAGANGA. Among JANY A or dorivativo RAU S

B natural, yoar B fst and your B double fat nr A natural. We closo rocognise two clusses: < with the bighest : B natural) in 88 modes, with the middle (B tlat) in MAD. Somewbat loss sublime bot oxceedingly, poworful and ellective is (ii) UPANGA, i.e., puroly Dravidian or KARNATA whic ar EI modrs and nil the lowost (B double fiat) in 12 Modes. the full-tone close from B dlutfto C, whiuh ocoure in most of your orthodox ecclesinstie' cadences i. aome of these aro siniply heavunly. aboriginal nud legitimate and .(il) BHASUANGA, i.e., forcign or exotic, which aro illegiti ate,

OAN. Tluei rank puritaniam and conservatism of an ultramontano typo. MAD. Europoana do the satne iu tho Melodio Minor, but thoy raise VioL. : Nor ye lu Europoan musio AiN. Nor in it all: ovon in thego illegitimato RAGAS, we don't permit also the 7th in the ascending seale, whioh thon beoomes our 23rd LAK, .Nor we whose uttor ignorance has always been etornal ualmidled licouce, ie. youdaro not at liborty to ictroduce ncoi- mode, inuteod of the -20t4 VIDU.' Nor vn whoare f-fdree as the f-f-fishin the sea dentale whore yon like, but only in such 'and ,such wull-dufingdVAIN. The only acoidenter coidental tolerated in:BHAIRAVI is whon tho CtL MAD. Once allow acoidentale or illogitimato netos to intermin situations I'l'illustrato this by one dr two examplou ;- desconding from the 7th goes up again as shown bolow, at and promiscuously with the logitimate onos, the whole of r r ay (1) ID KAMBODET, the dat 7th ean be raiaed only in one way, folle to the groundi ita raison d'etrs complotely disappoa: , au AG aL°, i.e., whon you dospend from the 7th to pbo Gth omittiny tho :bost mnsiclaus may ps well emigrate at once to the Antare lo O tith : but if you descond rogularly, thuat, Sth, 7th, Oth, 5th,-the 7th SAR. Wo don't oaro to omigrate so fooliably : buc whnll k to must be invuriably fat, oe this RAGA belunga to the 23th Modo. nystom, whinh, wo uro vory happy to noe, sgrocs with tho MAD. It is tho sume with all other exotiq RAGAS. If any mistako methoda of theso gontlomon of tho Wout. agr : occurs, woo to tho wretched man who makca itl e VIDU.I have known byrexporienco what it inito slip in t VAIN. (to SAR.) Will you give nsa few short and simple oxnmp

" Deprendi miseruin gat i Fabio vel judice vincam." rospoct ; style, which you prize so highly. I could nover rolish Ln. GAN. There cannot bo tho slightost doubt but that sev. nl Sa Ni .Pai Dha Sa Sa NiDha PaMaGa PaDhaSo MAD. (iv) In ANANDA BHAIRAYI, which in a most popular RAGA, and Hindustani airs we hoar are ravishing in the ostromr very much hacknoyed about by comediane, &o., all aorts of libertios nro unscientiuc thoy may bo in principlo, they poseoss u peculi 110 (ii) Iu YERUKULA KAMBODIII, which bolongs also to the aamo Mode, tho 7th is raised only when it descenda from tho Tonio taken ; the 3rd, 6th and 7th which must alwaye bo fut aro sbarpened fascinntion of their own, which aro entiroly forci and rejoius it immediately afterwards, ns iu tho following eramplo -; at will, ncoording to tho whims of the singors, but thie ie foltr bý scientifcally correct molodics. orthodox mon as outrageously, murderous, so much so that thoy have banished it from the favqurito palo of their seleoted RAGAS, SAR. .Be suro of it : it is entirely due to our accidentnls.

Tyagayya bas hardly any melodios in it. VAIN.' I have heurd it soid that the tru Hindustani nysten brig

BAR. And yet' it is among tho most beautiful and enjoyable of all in Nepaul, and that as it was haudud down from mouth t mop your Karnata RAGAS descended to the plains, it gradunlly lort all its original beau freshness, so that by the time it passed from Bengal aud C uera 10 VAIN. Lais and Thuis mnight havo boon vory boautiful and enioysblo, to the Taujoru diatriet, IL got complocely corrupted and met mor (iif) In BHAIRAVI, Modo No. 20, most singere rnise the 6th in but no sensible man would purcbnse repentance from them at any SAR. Be that as it mny; the skoloton wo possess is n treant b by ascending, probably to dietinguish it from tho TODI (Mode No. 8) the cost; similarly, no honest Muaiciun amonget us tolerates theso and Lsball givo you 3 or 4 short specimeas, restricting upper tetraobord of which is ernctly the samo as in the other ; but oxcesacs, ovon ing exotic RAGAS, with equnnimity. aimplest nira, juat to show you how we revel in acciden als q thia is incorrept, na it convorta Mode No. 20 to No. 22. SAR. . We don't caro a fig for all chis d,d rubbish in Ifindgstani music. sonBibly, as the musiciann of tho Wert. (Sings.)

Fin. I (iii)

I (iv)

MAD. Let me draw your specisl attention to tho magnificont close with VAIN, That is bad enough and his accidentals at in the laat piece, SAB. We should like to do the ssme. two full tones in tho last piecu and che artistie mothod of rendering it. which belougs to our divine RAGA, TODI aro simply monstrous. VAIN. And bo hanged I PIA. It is odd. Voila tout. VIOL We don't bind oursolves down by any such sbsurd restrictions, PIA. I sball'give two simple ornmples of tho way in ViOL. I see you restrict your accidentsls to but one or two notes. but resort to nocidontals much more freoly and promisouously. in accideutale in Europoan Music.

Ist time. 2°

Nisn. I don't ue the sughtest shnduw of u reuson why you should introduco these arcidontala at all. I'll wing the molodios without thu LAK. "Iam horo with thee and thy Gonts, as tho. most copricious poet honest Ovid wue among the Goths." MANG. I daro any your viows and ways will be quite ns u

whorps ond you will see that how they gain in dignity, majesty and vigour (Singe), Your eccidentals mako thom offominato and lugabri- ViDu. "O knowlodgo ill-inhabitod; worso than Jove in a thatched mon in this respect as in every other : it will moko

ous. That's our point of vicw. bonso." their soats : to witnoss it ell is such & ploosuro. " So to your pleasures, MANG (to LAK.) If you, compaet of jars, grow Musical, I am for other than for danoing measures" HAR. Hfang your point of view! I agroo Sith these mastors of the We shall have, shortly discord in the sphores." JAT. Oh no, we'll never lat you go: you must stick on ; fri West and: hold, that thesg ncuidcethis give all the chorm to thoir LAK. Then all will ond, and it will bo wall, for, we'll have no moro of bat you must hoar aod bear it all to the bitter ene cas tho same with bura. Music and it is juet tho :Ba your d-d muslo or your d-d musical disputations, LAK. "And so from hour to hour I'll rue and rue, 1 ... "O, Jupiter, how wonry nrp my yuris." JAY. But come, Alosnen, PIA. und VIOL. let us got on. We have dono with And then from hour to hour I'll roi and rot." Vi ") enra uut for my aulrijs; Il moy lga hro nol wnbry." yuur Accidentala's uow fur your Modulatione, MANn. " And there'sy hange a intr." V1D0. An alalo na tustoloss alo.

rerel shall now giro you pome nhort oxamples of MODULATION Real onjoymoat consiars n aurentarous cxcyrgions outaide the, GAN. TYAGAYYd, for instance, has multiplied miiatiuns Bet urst of all tell ns whet ou carth you mean by that ordinary groovo of routino lito i mnorpeoted surpriscs nund a thrill of wainh has purzled i mu' lalooeer H delight through the whole framd, while dull lethargy, and indolent number in several of hia KRITIS, carefully restricting himeoll luactivity send you to slnep. 4 limits of tho periods or phrasos with which be originally brgan bu. lte dreude pursieo and paeidoiegsanake Lis ouofusion wurse ouu- founded Ly yuur explunptipgs, Tepae gen sorcha Dedantio Pin "Every time thet s note, or notes, foreign to Te criginsl key. Musiolans, who ure satistied with nothing sbort of complete cl .nyp Ne Tos) pi tho port of tho pedantio. peripatotic, es pompous prquent thomselvos- potou copeble of displacicg tho tonio, changing the key, or d teying the floel glose and imposing other desires and sof key, without any restrictions-as regarda limit, time, &c Bu ccAn Fowro shall en Ehorfun for a little whil the true display of okill consists in bringing out tho mazimum a oun wncu Nodulation, meanta changmer ra,changoof tonic or of modo, or of both at attrRetions pon, the car tovery timo. that theso irregular. and Lof varistion with the minimum amonnt of liberty and acope for: Lion ongo; it deprives tho notes ofstheir fuuctions and imposes otbere unnipected notes appear and. brosk the rogularity of the metrical. Tho wondor is not that we have not dono more, but how wr bav peon thom; it givos us a pow resting point or contre of attraction; acoont, or dostroy the symmetry of the Arat rhrtbmical dosign ....... F. been able to do so much within such ciroumaorihed limita. i Vid up. itstartles our musionl car by robbing it of the notes irhioh it desiro .... tho firat impalse ts to regard those notos as falao, but we aoou and wlich yould satisfy it,logiqully, and forcing others upon it. feel that thoy aro in accordango with the laws of tonality, key, time, VAIN. Somo singora muke A spocial study of onu particular

aud rhythm and that they only lend toa new koyro tnew centro of all their lives, singing nothing elac and atriving to bring out This substitation evidontlyoinnot tako placo without a struggle latont beauties as prominently as possible : so niuch so that the it

attraction, or n new rhythmicnl design, and muet be ocoeptod. The -of the RAGAS have popularly been profixed to their cognom ame Wo fcel unwilling to yield is sthe attraction of tho new tonio with oubi resistance, and aling tu tho original koy uutil wo aro carriod artist will therefore manifeat hie improasiona by more, powerful tono prenomina and agnomina: e.g., TODI SITARAMAYYA, &e. away, tilliny or unwilling into the orbit tof thu now ono." and greator animation followed by orhaustion and languor." LAx. If ovor oxbanstion and languor did overwhelm. sny human being MAD. If however you want more frequont and it the same tim E. Oh I give me a doso of ohloroformn please : ho is cloarly dragging upon oarth, alas ! it is poor wrutohed me, at this orlgical momont." piquant changes within tho Hinits of one and tho samo comp me oror the Styx andthe Letbe to tho infornal rogions, and I cun pear tho torture any longer with this flesh aud blood of mino ! VAIN. . Wocan't possibly tako any dolight in ell thiu deliborate broaking of you havuour RAGAMALIKA8, in whlob the changen nro arthe grenter than in a transportation from the torrid to tho frigil :on 4. 1Tho moro distant it ir-that is to say, tho more strange notes rogularity and destruotion of symmotry ; wo keep to the notes PIA. But without nccidontals and modulation, in our scunu of the rma am tatrodunod by tho now koytho greator cfforts aro roquired in legitimatoly bolonging toj oach modo aud shub tho illesitimato 'your munio oannot but be woofully and Iutolerably monoton ho modulatiou. If the charge bo too distant or too abrupt, tho " impositiou of other desirea andjattraccions upon ,our ears." . Abovo- VAIN. Why is that ? nsr. must, so to spoal bo tanpod, and forced into sccepting tho new all, we never chango the pitch or displace the tonic on any account. tonin by actunl riolenco7ccu. VI0L. That betrays, the primitive simplicity, and rugged rustioity of VIOL. It maut be samo-toned or unvaricd, and thercforo :, fut DoYou have peared the inland of the siren Circe ! Shall I pour your hoary antiqoity, wherein you bave been stinking in a stalo of dull and disgustingt molton lead into yonr- gars ortie you hand ,and foot to the mast of stugoation for thousands of years. Where thon is the proof of your Sr boasted civilisation P Our systom is the ontcomeTof eu eplightened VAIN, Samo-toned and unvaried, yes; dull and disgusting, by a th your doomed vesselP Poor enchanted Ulysaos! you cap't escape! development that has gone on, working its way put of antiquated devils, no; the sameness of the tone is the grentent charm and h aulj FJttis imporsible not. to foel startled by kuch abrupt changea. methods, slowly and surely, during several conturios of continual of, our syatem : it is the sine qua non of ite very existonco ; its uri Thoy produco the anmoredfect ssthetically as would be producod amelioratiea and progroas. should remain over unsullied ; all foreign admistnres will ren or ! physieslly, if we were saddonlyransportod froi Sicily to Siberia." E You have transportod me from Scylln to Charybdis; my ignorance VAIN. We ceunot admire progress of this description ; according to our meretricious in the extreme, and all our orthodox men of r enc vory jenlously and rigidly exclude thom. wae blirs : your elygidation has plunged me in the plagues of Pluto! principles, it is downright profanity, If not groas profigncy. LAK ... That's very orthodox indeed ! Is. Bnt to spoak sorioualy, all this stuoning and etartling, struggling MAD. To avoid undue prolixity and consoquent, ennui (wbich the pro-t VIOL. But what harm can there be in'sliding to an allied scale, ju: ore) and transportstion are surely out of placo in Musio: our system is just Ecription of acoidentals and pitch-tranemutution ought to render all tho more unpalatable to you), our melodier are made as sbort as possiblo a few bare, for the sako of varioty, and then roverting to the o cing the reverso: you find notbing but absolute calm, mellifluoun east. scale, as wo invarinbly do. The shortest of our melodies nevi fa and pure Elysian lusciousness in it. There is uot the least dread of a so that you can alwaya 'change the airs and modos as often as you foreigo invasion or an unwelcome adulteration like. But for all practical purposes, both our singers and hearer to cluse on tho afth. as u varied tonic, or to flatten tho 3rd n 1 Gt for t mourniul and pathetic pasaagrs. It is thia simplo k d Y4. Then, what enjoymont or attraction do you find in these foreign indulge in the luxury of the doctrine, Decies repetita placebit,", and notes, which you clearly admit to be uuwelcome nud why should you prefer to atiok to tho some RAGA for houre and days together. Modulution which constitutcs the gruuteat charm of our eyst u shall givo you a few short oxamples, shuwing how sharpa an flal allow thou to be foroed upon yon, willy-nilly ? Lussy on isical Ewpression," are introduced for purposes of Alodulation, in our syatom,

Key C. Key G. Key 110

IV. Key C tiAccidentain Key E flat.+ Modulation. Key Accid

N,But which is your SRUTI or koy-noto in such cases? VAIN. This accounts for one of my saddest. experionces in regard to: SAR. Theu we are quite right in calling your music dull and disgu oIt varies with each modulation from scale to scale, and this is your Muaio. How often had I offered violence to my feelings and. VAIN. 'But ia it not dull and diegusting to be obliged to stick to th on iroll indicated in the Solfa Notation, where eoch change ia clearly made it n point to stand and liston to some of your Bands playing.at dimsinguished; thus, Koy C; Key G; Key E, &c., as shown above. the Beach, &o l Until you came to the end, I could not for the life of partner you arc wedded to for lifo? Will it uot bo much sweeter o be allowed to havo a change, now and thon, jus: for a short timn? IN. Ja our classical syatem, this is strictly forbidden; the SRUTI or mne find out your tonic and was in agonies all along. And. yet, ask mo the name of any RAGA or Mode which anybody may sing in, the SAR. . Confound it, manl the two casos are not at all paralle pitoh oure takon up and therefore tho, SRUT! Note or Tonic can nerar, novor be altered; und to onsuro this thero are alwaye a few . SRUTI alone being giyen, I can tell it at once,-with a readiness Matrimony, the compaot is tbat you should not eren dream o

instramonts sounding this note as a drone, without intermission. which you can, nevor acquire after.n'100 rears' study of our syatom. other but the one you are chained to for life: in Music, there

PIA. 1 don't quite follow you; let us be quito oloar ubout it: I understand such compact, and for Heavon's sake, don't scek to introduco it jere. .But are thore no recoguised excoptions to thie stupid rule VAIN, There ia the rub; in our puro Dravidian munic, there i: ch N. Absolutoly none ; in tho case of a RAGAMALIKA or garlaid the difference to be this; you soek variety by an internal changb, i.e.,

of melody-mouids, the RAGAS are changed continually et the end by altoring only the intermediate potes of the scale and rotaiuing tho compact; and it is a most solomn one,-abanlutely sacree and inviolable. "Each Mode for itself and Heaven for usnll" is our t utto oi a certain number of bars; but even here, ench portion or RAGA eztremcs as. immutable. On the contrary, we produce variety by a wholesale transmutation, or a change in the ezternal form, vis., by SAR. But what pleasure can there be in hearing the same uotes is a conaistent whole by itself,-sui generis,-same-toned and unvsried, shifting the entire scale bodily from ono pitoh to another (as is done .and over again without any chango or varioty ? so far as it goos; the SRUTI or koy-note continues moreover un. altered throughout tho performanne, oven though so many as 72 by a transferriblo keyboard in some Harmoniume), but rotaining all TAIN. What a stupid question to ask after the odious compary n deliberately made, just now, to make him understand the importu: aiferent RAGAS may be introduced into the same piece. the original intorvala of the scale absolutely intaot: MAD. Precisolyi you don't chunge the modes really ; (for, major to the didferonce. I am ashamed to be harping on tho same str g.

Well,,our plan is just tho rererse ; we frequently chnnge tho, Tonic minor ie only one ont of many poseible forms and is noxt to nothing VIDD. I will put it more plainly then: what pleaaure can thern i

or the koy-note for the suke of variety, by gliding into allied koys but as wo rocognise only two modes (Major and Minor) we gencrully as the interval in both are much the same). You'll find real modulation asks, in kissing tho anmo photo over and over again withow any or chunge-from-mode-to.mode only in our RAGAMALIKAS. (Vid chango or variety. Indignere licet; juvat inconee sa voluptas! anedalato from the ono to the other, in differont wnys, sometimes Loling the Tonic Minor, sometimes the Relatite Minor, and vice versa. nn oxcelleot specimen in 32 RAGAS, by SUBBARAMA DIKSHIT, VAIN. (In e rage) But you aru not monogamists, cither in practi in honour of the Maharajah of Vizianagaram in the appondix io theory ; whence all tho evil.

ao you call it Modwlation, bnt we can vicw it only in the light of an to this prelade, ospecially the rapid changes from bur to bar, on p. 7. JAYA. Silenco, man I you muat be flayed alivo.

awkward shifting of the SRUTI or Tonic on each occasion ; if v7o PiA. But modulation without a change of "the tonio from tho origina! SAR. Well, our luwgivers aliow us greater latitude, in this re chose to do the same with our 73 modes, tho variety would be endless, pitch is no modulation at all; any amount of interoal change will but wo do not abuse it: anyhow wo alwuys find that oven in Dut it is an idlo dodge altogether and wo bolievo that yon aro obliged still loave a goneral impresaion lof mouotony. wedlock as woll aa in Music .- "Stolon kisses aro tho sweetest

1o resort to it solaly owing tosthe paucily of your modes and the VAIN. Wo find absolutoly no monotony, bocauso wo havo a prodigious VIDU. Nitimur in cetitum scmper cupimusque neguto.

eutire absonce of such a thing as & RAGA in your systom. numbor of Modes for purposes of variation and onn thoroforo well VAIN. Every body cate tho forbiddon fruit but it stands still forbid afford to stick to tho samo key-note. PIA. But see what grand effects our modulations of keya produco. (Pl

First time. Second time.

eThe sooond portion of this melody, le t titne is full of acciden- tale sad rpid moduladone nd oloses on the Atth ; (Plays.)' MAD. These transitionu froi one key to another aro fsoilitated by | MAD. Iyen ouly eay, youare " gravitating back to the chaotic condit Our older mastors borrovermnst, oe this point, be judged to have haa aehoribatien othoys on the alavier of your Orgens, do ; of course in which everything orietod, not only, beforo you tirat discor ud but atue suore of the ectuel forenofidiferont koys a a mattpr of form; Pl we can do tho samg on the VINA, but we can never reoonoilo our. nelvez to tho principle, which eppeora to us to bo no principlo at all s Hurmony, but ante mare et tallus et, quod tegit omnio. calum,-n un forain e largo pruportion of ezamples thoy were, content to wavgr up Unus erat tota Nature vultun in orbe, sua down Sctweon noarly rolated koyp and consiantly to resume one PiA On the contrary, wofeel froqpent changos of key to be so essontially Quom dizere Chaos, rudin indigestaque moler, saethor withont order or desigos. Even BACH occusionully presonts similar eramplcs and ifOZARTAaistributions of modulation in tho neceasary in modorn teusio, that you And the number of traneitiona Nec quicguam, nisi pondut iners, congestaque codem Noa bene junctarum discordia semina rerum " Splendants te Deur" are on Te eimilarlplan, for he digrenses and exceeding thol number of bars in some passages, whilo in othors Obstabatque aliis nliud, quia corpore in nn0 reterns nguin to tho i wcipal key at loast twelve limes in tho courso groupa of chorda repregenting any givon tonality are constantly renderyd shorger aud shorter until at length they. aro reduced to Frigida pugnabant calidis, humentia sirers, of the work." (Viue ULATION in tho Dicticnary of Muuic). oue or two, whiuh by no moans oxpress the tonality ciearly. MOLLIA.cum DURIS, aine pondero hatentia pondus.

i dsa's tollow the drift of your argument, as applied to chin passoge. VioL, u det. None iucorica ond prinoiples; whet. wAs tho real offect. VIOL .. El! thia ig nrectly the old idea of TETHACHORI. hchegrery child knoye by hoarki what on carch amoaron about! progedgdupons oufears by our modulations, aay Yor ozamplo, in the MIAD TIcade cummontary then : Unws erat lultus : you frat rojuctod last Dleoe pley od by PiA! bythe aunient Greeka! I am sare theso lggare' of the Orealan and Medioval moden; you are now fnst dostroying tho aimply borrowed tholr ayatom from their conquerors of twodpoor remnants Major aud Minor by constontly intortingling, JATA. IEFas grApd, majoatio, imposing and vory effectivo, cortalaly. PIA. No: Strabo sayn junt tho roveran ! I firsc thought I s mangling and manling thom, so that ultimatoly tbere will bo but ono VIDUR Bul wes It A discordia courore or a concordia digcors, I wopder ? mode in what he callod his 28th MRLA : but uoither cconglomeratod mass of orudo indigoztiblo-motter (rudie indigestayu Yhixe To me, de tas. an omniut gatherum of ali sorts of inpongruous tho modieval mualolans had moro than 12 or 14 mode moles) with fhe primordial foutures Fwryf pultue) huddlod togother, poll-moll, harum-rcarnm, hroltor-skeltor, alt nnd see yhat thoir othor oombingtions aro. YLOLWhatdd rotf of courmo wo onb'f forotoll what shapo our giedsoplgglodyi-in other words, it way oin drondful dowupour GaN! Every othor noto, lying butween the Laro oztromes smoderu.jonality will fnally:takor but it isrboundrto improve, not ets and doge thandor apd lightning, Arg and brimstone ! Scherm of its own from an wsthetio point of viow ) w go back, asyyou nadly foretoll. t was not all'this followed by a divine calm at the end, whenove dintinct paince for it, and wo cujoy it in its own hn o, VIDU. As madly h the MAD.Cassandra I romartads to the priginal key and closod with the tonio? And aid aud alone, in porpetual ' pence nnd calm, with unmized Sntrast of itaelf enhanoo the onjoyment of tho whole,-liko ter, and, we enrnestly lopo, for over,and after. MAD. : I eball goon , Frigida pugnabant calidis; AfOLLIA gun DURIS. Thin jis: exactly. what occurs in all your modernise! jusio ;~ BE L calm ter a storm ? VAIN. I'll oxplain it in other worda; wo havo Serent, MOLLES, Diceus and Becarres, warring nad jarriug with each other VAIN. But why rajse the storm?y . NANDAVANAS, Groves, or Woods," cnoh laid out liko tho aboriinal elements, in one aud the same composition (corzore e storm yoursell ?: We havo quite onough alrendy, within and without, to be worric exquisitely begutiful plantutions aud aromatio herbi in uno), 'and with orerythiug congested (congestaquq codem), obatinatoly e be worried about fue grovey are numbers of serdant t Orchards, Parka Fobtrusive and obstructive (obstabat aliis aliud), as of yore i sg VIDU. Was't evor in Camp, Shopherd ? a u YAIN. "No, truly" and never shali, so Lelp mo, Baall . MELAS oF Parent-M terming with the moutiw PrA. Euough of this, rubbish. Yon are trying to prove, that Hoavep ur: ipleolly well-coustruci ie Hell, thot the Lighest summit of perfootion ia the lowest abyss of IDU. "Then, thou art damned" t RAGAS or Melody-moulds. dolicious arboure and plen mnt be

pordition and that the bot uf civilisationa ia tho woret of barbarisma. YAIN "Nay,I hopo'" lounge and linger in ca Yibu. "Truly, thoy art damnod, like an lll-roasted ogg all long as wo liko, and turn to another, only whon wo MAD. On tho other haud, just see bow woll the subsuqueut disentan. firat In this way we havo ondlees varieties to satisfy .s glemont of tho clementa from Chaos nud tho entire segregation of YAIN. "For not boing in Camp ? Your roason ? MAD. But in all the 72 groves, tho Entranco (Toh dissimilars froin similers coincides canetly with our eystom !: VIDU. Why, man if thou never, wast in camp, thou never ahwost war (Domlnant) and tho outer Extromity (Octave) aro c. c VIDU, Aiea wo aro uudone ! A aQuem vero arripuit, tenet, occiditque legende and/bloodsheds if thou never sawest war and bloodshed, thou never to all' ontward apponranco and aro immutablo by, Nat r knegent bastlo and tartnoil, if thou never kngwest buatle and turmoil, Non mipsura cutem nisi plena cruoria hirudo. Ethon nover knowest the valuo of tho joy 'and laughtor that roignod Viot. Your immutables can never satisfy us. Wo rovol in VAD. No, TU let fou of prosontly :. beforo ii if thou nacor knowost tho valuo, of tho joy and Inughter in nocidentals and enn't du without them, at ovory t n, Hanc Deus et Melior litem Natura diremit, that rolgned bofore,,thou never knoweet the yalue of tho joy and shortont of our songa. "Thnt in tho long and short of . } Nam calo terrut et terris abscidit undas, Inightor that roigned thorenfter. Now, not knowing the value of GAN. That is to wny, you will nlwaya be ploughing in ah n gr Et liguidum spisso secrevit ab aero coolum ; Quod pestquam evolvit, cicoque czemit acerro, juy and luughtor, eithor before or nfter, thou onnat not but be damned VAIN. And your system will nlwnys be unprincipled anc herenftor, and be ronsted . on every side for over, and aftor. Thou SAR. Not neccssarily ; ovory rulo has its excoptions, and Dissociata locis concordi pace ligauit .; ) art truly in a parlous and pitoous condition, Shepherd. frm the rule, Variety is a greator factor in human VIDU, Now must come, coinme il faut, your confounded, contemptible VaiyBettor be damned quiotly at homo, in peaco and calm, and joy uniformity or symmetry. Soommentar, with all its chudishness, cburlishness and charlutauism at which "my lungs begin to crow like chanticloor" nod laughtor, than bo dragged into camp, amiaut war and bloodsbod, VAIN. We have variety.too, and a good denl more th !

Man. Yes; Calo terras, terria undas, liguidyis spisro. We hare soparated and bo saved thargaftor. Y haveour RAGAS, which you have not ; bat our classios syst

Upper from Lower tetrachords; Immutable extromes from Varying SAR. . "I was never so be-rhymed since Pythagoras' time, that I was an and our rules rigid : thoy admit of no exceptions as suc JAY. It is idlo to argue further on this poingi intermodiato notes, Modes with F natural from Modes with F sharp; 3. Irish rat, which I can hardly remember." SAR. I'll aud it then, but your system is dreadfully dall Paront from Derivative RA GAS,-iu short wo have elearly distinguished JAYA. You are wasting our time; lotus get on: you want to say that VAIN. Youro is abominably impure and licentious. nd

overy ponsiblo variety and rotainod it, iu ita proper place, guito apart you won't admit sudden and unwelcome ohunges of key or tonio, SAR. Yoursis monotonons! byatnelf, (dissociate locis); so shat, on tho whole, therg is no longer whereas in tho Europoan system they considor it tho bost moans of VaIN. "Yours'is polygamonal anr dering or warring,. bus everything "i united methodioally and avoiding monotony and oreating effect. What then is your own plan? BAR. Yours is barbarous. Nayatotonuoally, in poace and in concordl (concerdi pace ligavit) t! GAN. Wo don't muddle. our musio-in such hodge.podgo fashion. VAIN. Yours in cacophonous. VIDU. No doctor of divinity dallies with hia dogmas so dezterously as. dur fundamentalinotes, (First and Last of enth half, of tho soale) JATA. Hallo! stop (Rings ) Degustibus non est disputan che devil, when he je determined to defend his d-d designa. stand immutable for all the 36 Modes in esch of our two groups. bu no wrangling abort international tastes. Assoni

SCENE VI. THE ADORABLE INDIAN SCALE, MAYA MALAVA GAULAI (MODE NO. IO) THE EXOEEDINGLY MERRY AND FESTIVE, MODE, KALYANI. (MODE NO. 60, WITH 3 FULL ON IN THE LOWER TETRACHORD.) BOTH OF THEM UNPARALLELED FOR BEAUTY AND PATHOS, IN THE MUSIC OF ANY OTHER NATION IN THE WORLD. MAIN PRINCIPLES UNDERLYING THE FORMATION OF INDIAN SCALES.

ris. Now, Mungals, givw ua yaur tune aunin and I'll try and noto it GAN. Ohl the hearenly MAYA MALAVA GAUVA, Now it plereps VioL. I non tho soalo propnods by somitonex, taking dowu, with tho help of the Pieno horu. (Sungala siugs ua on pugo U.) atraight through my bearb and wluks to the bottom of It, setling all its chorda in yibration !. Logother, In sucomsion : so that, on the wbolo; ther Vior., Bat what ie tho menning of this? I fnd sho uees two flats in oach tetrachord, oxuctly as in our major and minor i alcs wrong placos, tho socond and tho sixth, aud morbovor aho twiata LAI. Thin is ngwa to mo -Ah! Ahi Ahl about tho timo. dreadfully. VIOL. No lese to mep but why ahould the 2nd and 6th notos of the scalo (Mode No. 15.) 11j tones I tone. 1j tones

VaINs (Indignastly) What on carth! man ? are you mad ! Sho is quite be flats, I don't see. P, h;on L

right, both as regards the acalo and thelime. VAIN. That is the structaro of the 16th of our 72 modes, which is juatly

LAE. (atide) Ahl this is becoming intorestisg., pow ; I hopo there will 'called MAYA or bewitching. GAN.It ie our fevourite: scalo, and aU our lessons, from tho most be a duel here shortly, on a small acalo at, least. I. don't follow a elemeutury up to thu highest staudard, are taught in it. Semitone Semitone Semitono Somit wrord of their high Dutch and 1 wiab they would eat up one another. MAD. A large. misss of our mellow melody-monlds emanates from this 1st, 2nd; 3rd, 4th; 5th, Gth;

VIDU. And and the business so, lexving nothing but their tails bohiud. mode, which'is ono of our mightiost melody-mannfacturing minca. FIA. But botweon your 2nd aud 3rd, ns well as beh.

PiA. Will sou plesso sing for mo tuis correet ecale na you call i. May. I mar yonr Sicilinn mariners' hymn, by a metathevis to this 7th, the dintanco or interral is something enormous, inode ? you''can't imagiuo bow much miore mystic, mesmeric and have to jump with a tremendous bound, over noa., VAIN, I'll play it for yoa on this my VINA and whuw you: (Playe.) the entiro longth of your VINA, at the boltom! uBut, br the by, do you mean to say that this instrument of yours marvollqusly melodrainatio our MAYA MAĻAVA mnakes it. VAIN. 'What dous that umtter ? It is no in most of our 72 cannot. give out louder and bolder tones than this ? LAK. OI I am aick. I must hnvo a little rest. (Favns, d .VAIN. For thame I do you mean to ray that loudness and boldness aro VIOL. It ia certninly a most extraordinary scale, and i all in all in musio, which you call the Divine Art? is the most popular of your modes, it is renlly n ont Pis. Bus just hoar tho manly and clenr toncs of tho Pianoforto (Plays nono of the European nations, who havo been here ir first P'iano, then Forte, with imitations of storm and thunder.) Inst four centurics, havo brought it to the notice

LAE: Why, that is moro lively, at any. rate ? Musical world. Hundreda of our musicians have sojou ned PIA. Why ? na far as I know, at lenst one of our great m iten VAIN. It is all noise and uproar ; just hear the soft and mellow tonos of my hearonly VINA (Playa.) LAx.You havo marred tho mariners' melody in a marvellously melan- have hoard of it, though n little too late ;- for "u a o icholy manner, bytyour Machiavelian modes and mystic mesmerisims ! times that BEETHOVEN'S pentouched tho paper befc Pia. Why, I can plny softor still; (Plays Pianiasimo.) GAN. Bot what call you this ? Modo-motathosis, Melody-metamorphosis hin death bed was to add hin signature and a line of Mu o(it 1.AK. That is differenco indoed! or Mould-metempaychosis? scale, to a noto of his dictation to Holz, "Decemb 18 VA.N. But your notes are so atid and rigid : so detached and dieconpected: VIDU. Oh! which of you can toU, Lottera 385): (Vide Dictionnry of Music under HOLZ. juat liston. to mino, (P'lays MELA No. 15 in CHAPU TALA withe Why there's such magio spell qumerous lindj of grucca or GAMAKAS.) In MAYA MALAVEL GAN. Ob, tho divino VINA, how incomparably aupcrior it i to ovory Moro than in milk and malli otber instrument on eurth P I can pever uppreciate anything elso GAN.W Muster, mautor, can you toll, Wir ir-rop allo Sumt, Nor Joder ir. t whonogor its exquisite tones coase to fall on my eara, I sigh and Why the black bird sings so well? Wie immer Ihr Fround BEET IO sigh to bper thom ngain. MAD.You may try this tune too, if you liko, with tho D fat. NAD. Who would bolievo that the iden originatod bero ? LAK. And I Nmigind I cup ko to wleep. (Nods) JAYA. , Whnt a uingnifloont noquol to thie picoo has the w .. ht PIa. (asidy) Just faucy tho deftnens of hie fingers, the strange whin- untimoly desth of that composor! ings of those stringe, and the wuird effeet of it all. But, woudor of GAN. What splondid oporna would have been pro lnced by wouderal what a strunge sunla and what au odd rhythm he uses and how much regularity there is in ulli this scoming irregularity ? Maator, mastor, can you toll 7 masters of the West, if they hnd beon conversnut with sho Let me be pationt. (Aloud) Yrry well then ? Pleaso plar that tuno. Whystho black bird black pird aings so woll J .. Can you toll ou f Mastor, m, can'y; t. Why tho b-b. 5. 4 W underlying the fortation of our scales, the constr ctis of Mangala oversagsiu. Pi Oh l enougt RAGAMALIKAS, tho distiuguishing featurce of our R GA uenough of your monstrous mnar.texts, plosso. Liuur clodramatio with a-venEcu noe, let us procood./ IDU. fortunatos nimizm eua ti lona nerint!

MAD. Not nocessarily; in the scale yon call your. oull your .. Mujor, our 29th,y4IN, The variationa ocour only in tho second and third notes in the uewrait, lot un procood stepoyistep Beethoven may have che spaces botwoen the Srd and ath as woll as the 7th and 8th are lower half of tho scsle : and tho aixth and seventh in the upper half of on thd aculo merely as a ouriosity with which to bogin a norol wo can't reoogniso it to be s acale propor onlychali of those between the other noto it i now the variations are exactly the aamo in both halves. Bemitone LAK. Thank God, for so much meroy to a poor devil liko mel Tby not f H is guito as proper, normal aod logitimato, as any of (Mode No. 29 .- Jonian.) Semitone 1 tono. ther seules adoyted by you, under the namos of Mujor and Minor. VAIN. Hore are tho variotious 6 toues. at surely a scale, to be a scale or ladder, must procood siop by and uot by akips gad bounds2 Tono Tono Fariations of the Variationa of the Variations of the Tone Tone: Tono. But eurdly no one can provent me from akipping ovor two or and-RI. Brd -GA. Variationa of Gth-DIIA 7th-NI. Viot. Yes: this orrangemont of tones and semitonos is the most plona. ing and thu munt ssiontingally worrao .. We therefors I6 Thg 1. BUDDRA. u can skip over a whole octasu.for the mattor of Luat, but all Natural acale, i. e., the sgalo of Nature, par eacoller write 1. HunnBA. 1, BupEns 1. BUPDRA. mental scales should proored rogolarly, di grado and uot di salto. it on the stavo, quito plainly, without any sharps or flata 2. OHATUSHUTI. 2. SADHABANA 2. CHATUSKUTI," 3. KAIBIKI. Wa don't care for that's wo hare, 8 stope to mount in cach scalo PIA. Sciontifo analysis abows that the ratios of the intertals of t B. SHATBRUTI, 8. ANTARA, 3 .. SHATSRUTI. 3. KAKALI vo, mount them in evory possible order of stops, skipping pver diatonio major soale are tho simplest and most concordant, whlle all o? tho intormediate stops harg and some there, but wo take very caro tu nat omit any of the stepe'on the wholo. othors aro moro complex and not so pleasant to the ear; wo are thorofore porfectly right in ndhuring to this arrangement as the caly . More corrootly PANCHASRUTI. Bat tho ateps choson shonkd, be of moro or loss uniform messuro- satisfautory ouo and rojooting all others sa ansolontido. VIOL. Coufound it, mau, who thu diokens is to luarn or romambor sll in olber words, oguidistant' ahonld they not? VAIN. What if you place the semitones in other positious as we do, those unpronounceable namos! What ! SHAT,'CHAT, KAIS, KAK! ejl wohave ourselres infringed this principlo now ; the Iatest nod for eramplo, botween the lat'and the 2nd notes na well as the 5th and N. Well, our Sanscrit literature is full of these hurd names aud as approved form of the Minor, (Harmonio minor) contuins li tonos 6th of the scale, which is one of our most favourite arrangomenta voeu tho 6tb and 7th, eznctly as in their 15th modo. (MELA No. S; TODI), and just the roverso of yours ? all our musicul works are written in Sansorit, wo can't holp it JAYA: Woll, so it ia alao in German and other langunges; novor mind. No. 21) Bomitono ( Bemitone. Semitone. 1 tones. Semitono Semitone (Phrygian) tone. MAD. Now is my time : one of our learnod administrators and muaicians, by . name GOVINDA NJKSHIT and his son VENKATAMARHI +Ptonoa inventod very wimple and adequate subatitutes jor those namos, vis. tonos. Tone Tone Tono lt tones. Tono Tone Tone oTono Tone 6 tones. Becond Third Bizth Seventh Yos: but we regard that in the light of an accidental not a VIOL.' I don't see why not : but there is Do leading note, and it won't do alar diatonic acalo, like the major. In moy opinion, it is abaolutely at all for purposes of harmony which is all in all to ua. Fonthis reason, RA DHA atiel that the intorvals ahoald be all uniform. we have rejected aa uttorly barbaroua all the ecclosiastical ncalen, GA NA

GI DHI NI To hare seal oniformity, yoa must hare 3 full tones between the that were unsuited for this purposer the above is one of them. BI notes of a totraohord, as wo have in our 05th mode,- callud PIa. A fortiori, with youra, for, what are wo to mako of the oursedly RU GU DHU NU LYANI, which is another of our moat fascinating and favourite cacophonous combination, . whioh yon so cooly, introduoed into that dea. It has the F abarp, but the C and G continne to remain the beautifal Round, when yon'meroilesaly mutilated it with your Bat Di Or what nccord oan we make with your sharp t 4th, or with your GAN 'Splendid I that gontleman deserves our undying thanka. iotand dominant as in all the 72 modes. confounded four I fiats, rotaining O and G as tonio and dominant. ! PiA. Bat how can there be throo varietios in esch of theso notos ? No. 65 .- Lydian.) Bemitone Semitone. 1 tono. MAp' I shall write them down for you in Stalf-Notation, and oxplais the diatinotions sfterwards. & tonos

3 tonos SECOND. Tone Tone Tone Tone Tono THIRD

What on e:'rch do you mean ? three tones in a tetrachord ! apd you Lend to call yhursolvos scioutifo musicinud! Why man, the quimsux, (uot to sponenf the Chineso) fre much bettorl MAD. Hel tbere'a the rub 1 It will tax all the beaming intelleot of a Beethoven to handle these scalos properly,,s.e., without offending Balthere is tho rubl drink doey of the Piorian springs, which your present laws of Harmony !g, Indian BA RI RU GA GI GU havo crcated in this most intoresting and intoricatiug of onr GAN, If that be the case, why not rejeot the Harmony altogether? German Des D Dia Eses Es E ies atudy our modus operandi and thon judgo. PiA. Hallos ! Why not reject your d-A modes altogether.P Tarco full toace toget'per; with tho F sharp not as an accidental or SAR That indeed we can'tl BIXTH 8EVENTH loadiug, note to the/G bot as the subdominant, aud with C as the WIDU. He would sooner .rejeot all the charms of his. Harems, pic! Good heavenal it is not idiosyporscy, mnn, but downright F And submit to all manner of harms and alarums, E,-not cogontricity but execrable oxorbit ancy. Than reject the HOURI in his HAMIR-KALYANY, Sefetramino our molodies, 1 cay, and the way in which wo mani- For hives of the honey in your heavenly Harmony ! : Indian DHA DHI DHU NA NĪ NU at: the oun asorious notes in theso modes, and then judge. Vuinik, JATA. Ohl don't drive us to despair with this porpetual jingle and German A Aia Bebo B do giro hi m an idoa. (VAIN. ylays as in App) rattle of disjointed rhymes and caccphonous euphuiams.

Asdar ast I can make out, these melodies seom to halt midway GAN. It may be cacophonous to your ears; but all our Indian literature roon tiro Mfinors (the rolative of C and the relative of G), and as woll as all our familiar colloquialiams are full of alliterationa of LAK. Well, for my own part, " I do not like the names." VIDU. Well, "thore was no thought of plessing you, when they were rly betrny tho ovain ondenvoura of VAIN. to cliug tothe C as tho this kind, and bowever ill they msy halt and limp, we like them woll hatisfy your d-d theorotical requirements. onough. Leave us alone. ohristoned," though, by thu by, lhey have not yot beon " christencd." aio, in ordor to Iknew you w yould say so, but that is only one method of trostmont ; VIOL. Hlow their tastes are poles apart from ours! VAIN. A curse on all these innorations, l any ! 7 mothod in an infnite pumber uf ways, retaining the cen vary buictics unchangod. VIDU. (Sings) Mary, Mary, Quito contrary.1' a charuetor JAYA. I hate thoso digroeslone; lot ua gob back to our subjcot. In the MAD. These aro not incovstions, but are more than 4 centuries old

sner can . say is that your airs in these modes will naver be called European system, they roject all combinations, which arq unsuited for Thoy aro found in a raro work, bifhorto unknown to the public, and vory jealounly concealed by the Dikshit family :- it is called brzh e name of music by our great masters. purposes of Harmony How about your scales !

iell, I don't sgree with you there: the onjoyment we derive from VAIN .. Wo rejeot nothing, but utilise every possible mode of combining CHATURDANDI PRAKASIKA and with the RAGAPRAKARANA by the same author, VENKATAMAKHI, forms an jovaluable RAC KALYAN in superior to evory othor enrthly onjoymeat, and tones and semitones, first in the lower tetrachord and then in tho treasure-trove to lovers of the Music of Southern Indin. A bn courpered-mty to what wo oxpect la our own futuro Parndiee. upper, and thon in both of those put togethor.

But, but, bat, even our medieval monkeyish mode-mongers, Viot. And how do you combino thom P PIA. I seo that neither tho names of these bonks nor of thoso

rended the idos of 3 tones and decried it as. a " Tritonus" und a VAIN. Itle vory simplo: We first divido the soale into two halvon ox. bonutiful nubrnvintions for tho namen of potoa are oren no much As mentioned in Captalu Day's rucrut work. llow wichodly you poople Dicbolus in Musica," You must ba very sorry dovils and monkeys actly sliko, 8A to MA and PA to SA (O to E and G to o), as a solid manage to conceal theso things for centuries togetherl deod to find even the most morbid dolight it it ! foundation for the whole of our saperstruoturo; wo then lay down the rule that these extromes should not be varied, but should remain GAN. Would to heavon, these Vandala and Visigotbs had beon buried alivo Tao deril was sick and the devil a saint would be, absolutely immutable. and all these treasures given to our fathere, the moment thoy woru discoverod! Thece names would bavo saved them so muah jouble. The dovil got better, and tho doril of a saint was ho! Upper tetrachord. Lower) tetrachord. VAIN. When Vedio Vaiuik grows so vilely blasphomous, treso d-d idlera are sickly deyile now aud therofore delight in theao orbid modos, protending to be yeritablo salnts, with thoir puro and As to proncunce these names, so foul and infamous, nodulterated notes; but they'uwadon got bottor, and lot us hopo May bo donounce bis crend, renounce his thread as vonomous, iser, and thon thoy'll toar to tattors those Tritons and Tritonos, like Anu thon, "Bo roady, Gods, with all your thandorboltn, o vericat of dis-sainted dovils. BA; MA: PA SA. Dash bim to piecoa"!

But wait a bitl do yon not honestly think, that if you havo 3 tones F: LAx. "A consummation most devoutly to be wishod !"

tho lowor tetrachord, you muat hare also 3 in tho uppes ? Othor. lat 4th1 6th1 8th VIDU. "But, what's thoro in & name ? The rose, will amell" &o. iso, whore is uaiformity .? Pra. But lor what earthly renson do yon pin down tho ertremes, VIOL. Woll, some amongat us alno dielike the frequent chango of old You may try, but thut will take you half a milo beyond the Octavo, aoh tetruchord in this way and fix thom as immutable ? familiar namos. However, nover mind, proceed with your explanations. aich is our ne plus uitra, and yon can't ovurelep that. VAIN. Othorwise you can't atand on your legs: the S4 and PA (Ist and LAK. Bot wait a bit: You said you had only 12 nemitones in all, but Thon the two tetrachords will not be similar? 5th) are our BRUTI or fundamentel initial notes and form tho contrsl pivot, round which the whole of our maohinery turns. Tho 8th lis you have now given us 4 immutables and (4 timea 3=)12 mutables Ia thm firat 25 modes, they will; but In the lant an, thoy wlll not. meroly a reduplionto of tho lat, but redoubles itu importance and which makes 10 damusblos in all l

valuas wa therafore oumbine theso throe notos and sound them VID. Ot:e moro riddle, Raudy Rool But we must get to the bottom of this 72-foot abyss. You won't yen acknowledgo the principlo shat the intervals between tho notos togother" on the threp sidp strings pf tho VINA at-evory regular How theen riddles thickly now 1 in Lue sesle should bo oquidistanh in both tetraohorde.r boat in a measure, somewhat na in s conduotor's aooompaniment. Ouv moro rhymo,-Uh ! where to gol Pi. A very rustio kind of accom panimont indeed r but proceed. Hut to Monomotopol

10

MAD. Well, Le ought to have explained nt tho vers onset thai two diffcr Lix. But nowi that you have got the Thoro 3 different names, rhy not nto. Sthenet GU 1s quite as good gibberiah as GA or Gl for paggling with. VIDE. Aud with all oqr five sensoshout fogether, yon sw ont names are civrin for esch of the varying notes in ench tetriohords. nothing of all thenc diatinctions wilhout-a-differener A! ------- u., vnINA ; DHU-N1, ao thet ther are reaily. O' the grimmest goblin that gugglus with it. 8 varying uotes of, not 12 matables, ns you cail them.7h VIDU. "Why, thie is tho very false gallop of vorsos ! " Eh P LAK. But wuit n bit, I won't let yon of so ensily .. Yon may, on J.As. What confounded inconsistency is thia ? A fittlo whilo-ago, I wns MAD. The ingenione invonter of the namen, VERATAMAKHI, has himaoi, call an ape an npe and an ass an nes, but why eall tho sami ni yelling and howling, trying to provail upon yon to act like sousible mhen forbidden the nue of these (tames in vocal musidh iainly ont of two names, which are aurcly not sydonymous? viz: GI ant NU and give different namos to different things, but all of you jolned Vitru. 5Yest geoso are not rooks, surely P. together and atrangied me. You now eny very cooly and oullouely that - voneration for tho knolent names, which aro held to be saored. LAk. What & pack of Antiquated apea and antediluviah assca! VAIN. This brings ino bnck to the explanations I began nbont ho you givo two difforent names to one and the asme thing. MAsa. My learnod brother is mnrvelloualy sharp' to ertricate overj PIA. Nover mind ; It is the samo with our Fized Do syatom of solmisa tion of our scales : you'll aen the renson for this now para Er,but as yon persist in uaing these abominabia new names. thing elso but thu Intricacics of Musio. Stion, in which we pronounco the same syllables DO, RE, MI,-but ViDu. In which ho will nhortly bo a Musk Duck, (MUS, DOC). modulato tho voice according to the changes of pitoh in tho soonds, s another syllable. Let Mud continue the explacations.

MAD. Yonr Moveable Do system; "whicht answers so splendidly the GAN. Better begin from the very begiuning, so that thosc MAD. It is aololy for purposes of solmisation, i ... , for singing with the may alio get tho benGhit of it names of notes, (which we delight to do at all times and in the middle parposes of tho Tonio Sol-fn school, can beapplied to purely diatonio Rosles, but not to our complicated network of 72 moden. VIDU. And in yon are going back to your ante mare et tellus of almost overy performanco,) that we use the same abbroviated names e.g., in whatever modes we may happen to sing,. we Sol-fh LAK. Oh ! these musical parndoxes it was firat about the highor DH A and MANG. Yen: we should bo so thenkfal and s joyfal. VIDU. (Sings) "Then they for sudden joy did weep. the name GA for all the threa varieties of the Third, vis., GA, GI, GU. lawer NI, then cume larger and emaller magnitudes, then equal and unequal intervals, then we had. internal and erternal changer And I for 'sorrow sucg, Vinu. Good! ganders, gecso, and goose-lings go under the same gang l in modulation I now it is the moveable and immoveable DO system. That such good girls ahould play bo-peop And go the fools.among.' SCENE VII. CLASSIFICATION OP INTERVALS. NOMENCLATURE' OF NOTES. CONSTRUCTION OP MELAK ARTA'S OR PARENT MODES. . GAN. First of all, before procceding any further, let ua know the reason, MAD. Well then, the first step, was to determine what minimum sqb- why they reckon only seven notes in Mnsio, all over the world P divisions of the octave would give distinctly gatisfactory rosulte, VIDU. But wait a bit ; you are ont-jacking old Jack Falstafl o c from a purely msthotio point of view, so that the anb-tonos might field ; "Ol monstrons! oleven buokram knavos grown o o Yeu bogan with 6 (Mrrachorde,) thun camo to 7, then 8, Nomenclature. 1 2 4 5 7 bo thoroughly pleasing to the ear whon honrd consecutively, and it was decidod to aubdivide the octave into 12 equnl parts, much in. the 'now you aro at 13; yon will socn come back to your 10 d nt same way as the solar yoar was divided into 12 lunar months, and GAN. Tho 6 hezachorda aro obsolete ;: the principal neles nr 7 Indinn nAvcs. SA. RI, GA MA, PA. DHA NI. the diorual and nocturnal cyolea into 12 hours esch. tho octave, you cet 8; the semltonle intervals between 1 o

Itulias namce RE, MI, FA, SOL IA, 8I, LAX. "But why, sir, must they so P" why iuto 12 and why no more ? f its octavo are 12; the unmber of semitonic notes is 13, i: :In DO, VAIN. " The why ia plain ne way to parish church!". Why hnve you only octave, which thus becomes tho 13th,We'll oxplain tho 10 by Gerinan naines. ,D. F; G, A, B, 12 Apoetles thore, and wly but 12 onlendar montha in all? MAD. . To proccerl; it then,becarde necossary for our Rirh VIDU, Thoso aro noven, thoao aro twel',a how many combi ations with 8 noter' coald be formed oul of t

IDU. "The reuson why the soven iaters are no toore thun sovou io The reason why ho. cannot toll, sabdivisions, so as to produce different scales. It was ovid. t very pretty ruason." But this, he says, ho knows full woll, out of the 13 should be completely rejected or skipped rer LAK. "Becuuse they are not oight!' That those are seven, these aro twel' ! scale. On the other hand, it was considered of param iat VIDU. "Yes, indeed, thou wouldst mako a good fool !" PIA. Can you tell ns exaotly at what period of yonr, ancient history. ance to atilise every semitonic note, in its own turh, this subdivision of the octave into 12 semitonos took placo absolately no possiblo form of combibing them all. W VIOL. Guido of Arezan Luilt up his achemo of modiovnl Hexachorde, witar tho logionl coursn to ba udoptod ouly 6 uotes in all und they mannged with them for a good long time." MAD. It has boen wrltton of the Poper of Rome, "Far boyobd tho tlmo VIDU. Eridently then, the anven atare wero reducod to eit. Great pity! or Pepin that nugast dynnsty oxtonds till fe is loab in the twilight. LAK. I would have left nasen to cross yonr asscs' bridge in l'is, Hot the soventh hnd eaistud all along, from the tlmo of tho Gronks. of fable." ,Our countrymon contend "thnt thoir nshid Ivod and Vint. Bat he wants to know the lagical, course to hn aim bi pertucted thoir sciences and arts at a period of ftimo as apterior to L romember something of logio; let me sce : Barbara ...: D. It was simnply ignnrod for a time, during the middle agos. VIDU. A very unlucky star indeed, Lut as they were vory dark ages, no this your starting point, as we now livo postorior to it. did it Fun. ?. Dash it ? Barbara barbatum barathro bare bar ylo wonder they lost sight of it; evidently it did not twinkle so brightly. VIOL.' As fabulous and anachroniatio as ever ; but to speak the honest MAD. Suppose you had a corps of 13 Semitio men-at rm PIA. Yee, it now playa a very conspicuous part indeed, in our modern truth, I cannot understand how these men could;t without the'aid of distributed in detachinonts of 8 men esch, how would y musical firinnment, whero it is the great Londstar or Leading note! the tnning-fork and of other modern nppliances, have arrivod at to group them in overy possible manner !

ViDu. "Twinkle, twinkle, lediling etar, How I wondor whut you oro." practically the same conclusiuns, as in our modern aystem of equal VIDU. I would bave smitton tho 18 Somitica with a singlo 1.rx. You had a long dissortation about it just now, 1 romomber; but tomperamont, which is the work of several contnries. smashod their skeletons in their amutty cometerics! whnt did it lead to, did you auy ? I forget whnthor it wax due Est PIA. Quare, may it not bo that the arrival of the Europoans in Indin, LAK. I shouldn't have boon sorry 11 or due West, towarde the North or Sonth pole. 3 centuries ago, accounts for the whole phenomenon ? MAD. "I'd eing my song withont a bardons you bring me / GAN. I wish it would lead ns back to the point. I asked why you recog- MLAD. Not merely is all ancient and modorn history against suchian nised ne more thansoven notes in Music. absurd hypothosis, but you will see how ctterly untenable it is, wheu VIDU. "Do yon not know, I am n ViDow. When I think I but eay on.". We'll keep cackling within pareatheses. MAD. Well, I can't tell you why the number of the principal notes, you come to the analyais of our RAGAS. VIOL. Well then, proceed with your explanations. MAD. " Yon bring me ont" : bnt I'llput it more palatably. ndopted for the Gamat by all the civilisod nationa of the world, has JAYA. And let there be no moro intezruptions ! e had 13 plums, all of difforent sizes and colours,-arrarf been fred at soven, any more than I can tell yon why thoro aro accordinig to their magnitade ; and you were asked to co ouly soven colours in tho muinbow, weven days iu the weok, soven VIDU. Suroly, I can't bo sitting idle hero, and listening to your dry groups of 8, tnking caro not to placo a bigger behind o prinoipal urterios in tho humun franie, do. cetcohism like a dumb oatoohumon dat lt would you proceed to groap them P 1.AK. But Science hns now discovered moro than sevon principal plunets and seven principal arterice: who knows, eome more notes in Music LAK. Yes, by all moans, let this talkativo oat knop me awako, or olse I'nl J: snore alond, and Intorrupt you more than ever LAE. What a parndoxeinl hoad yon have gob e Thoro's ne may not be discovered by and by MAD. That'a impossible, becauwe the noxt step you take bayond the MAD. Well then, to rocnpitulate, our Rishis, in redietributing the inter. pazzles, whether yon denl with pluma or puddings, plat i

sevonth you iind to bo a repatition of tho first, in a higher pitch, J vals between the octave, first rojected,all minor subdivisions, (is., tonisms. How can you possibly distribute an odd nui bc qnartertones and other harmonics) and pitched upon the 13 equi- groups of even numhers (8)withont rojecting ono? and though it is called 8th or octave, it is really the sturting point of a now scale; but as it ie identies! with the first in overy respeot distant semitonio notes as the only iateriel with which to construct. VIDE. What appetito-less nsses you aru! I would ent np th to the wholo of their colossnl fabrios the middle and loave.you to divido the rest evenly. ercept in pitch, it is invariably added at the ond of the 7 Notes, in ordor to couplete the scale, which is otherwise imperfoct and nneatis- MAD. Oddly enough i, that is exaotly what, the Rishis, did.with the 13 semitones : they firat set apart the ono superfinous uote i factory to the ear ; the complete scale thun consiats of 8 notes." and divided the remainder into 2 oqual parts, placing sir on one aide and six on another, nt oqual intervals, so that the two halres ag Vino. Heugh! tho 7 stars then become 8, nud my very pretty ronson, " each other oxactly in evorything, excopt in pitch or-elevation, as, shown by the black and white koys of the Pianoforte, or sti " because they are not eiglt," loses all its wolght ! LẤK. But why should the 7 principal nocos.be incomplete without the cloarly as I havo written thom down on tho blnck-board hero, Sth? If they are incompleto, why talk about 7 at all ? HALF UPPER HALF GAN. You reckon only 7 days in tho weck, from Suuday to Saturday; LOWER ISOLATED.

but the 8th duy of rest is the moet glonious of ell, and ull creation .7 idoks forward to it with longing and yemning, throughout the wook 6 8 3 5/ 9 11 12 Viue. So when " throughout the compess of tho notus you've run, You fnd, tho DIAPASON cloaes fall un Sun' !" LAE. What then is the fun of having apother eubdivisien of 12 semi- tones, within tho octuve, about tho equality of which you were (i) (ii) (v) (vi) (iii) (iv swearing and swaggering so swinishly just, now. MAD. The refined and highly sciontific ears of our ancient Rishis F distinguiahed an inlinite number of sinall intorvals between the Ist D E Sharp B and the 8th, just as they distinguisbed an infnito number of stars, amidst tho principal planete; but it was found sufficiont for all practical purposes to aplit up the octsverinto 22 minute mathema- MAD. But behind this, thero is a highly soientife reason fo ec tical diviaions, callel SRUTIS, i.e., cloarly audible sounds. I now find PIA. I don't quite see why you isolato the Central noto, (F sharp) and tetdt apart so prominently j it is not so sogregated in the Pinno. this note, and yon will see presently what sn import: that this classi fcoton corresponds to somo extent with the rosults ob going to play In the building up bf our systom, but nx it tnined and tabulatee by recent nolontifle investigation ia the Wost. It is like unto tho polican in tho wildorness, and the night-ravon. hnt sittoth alone on the house-tobl Anothor vory unlucky starl connection at all with the two halrer of the scnle, wot ap ddes not howover dinetly boar upon tho main network of our modes let us for awhilo ignoro it and confngour attontion to tr and melody-moulde, ezcopt, as constituont elenionts of GAMAKAS Vibo. But remombor, please, that it is the odd plum in tho middle that N I reservod for cating up mysolt. VIDU. Poor dosortod polican ! or graces, aud I'll say ne more nhout it, at prosent. Sir .. If you do so, you'll have to dingorge it presently. LAF But wait a bit; it is all very woll to say you'l! ignor. Pia. Thisis s most intereiting question, and desorves to bo thoronghly iL is, right in tho middle of the two balves, and, occupy sifted, knt vre noed not discuss unything beyond whut is sbsolutoly GAN. Yes, we'll require it by and byj but aa to the question just asked, SIn the first placo; thi isolation sordes to show much/ more dlonrly the place in the Piuno, and yot can texoummonicato it so c. l nocosaary. for the comprohonsive survey of your mode-and-melody iersot similarity ot the two hhlver of the teslo and tho. expedienoy Mio, You will soo presently that. w omos ercommu fe mould-maonfartury.we nre potdeuling with muthrmatich. op if not the raison watre, of dividing the ootave intoitwo Totrachords. the contrary, Aasign toiit a pontdd fonction far too y e yobr uamasical Boah and blocd T

W7 aL 7 want to e or da thin: what status doen this iantatisi nuto Ma. Nuw, haring deoided how to combino tho iutormodiato notonin GAk. The next iii, iv), I hndl better atiek to tho JLA for the firt nhtne Fshuny ocoupy & wet reiation dnee it lear t sho others' w other Pach half of the scsle, all wo hayu to do is to ndd the llzod imtmulable estrores, nnd you gel fullhaif scaloa with 4 notes. We must. now the nest nmola lt in the regular ordor : I'fl tnko it mct mty #1 G1: dats, at what digtanne does it stand from the two totrach wtt. ? Ji is juet pno cemitono spors from esch totrachord, . courso. prouced to oombino the lower and upper halvos so as to mako com- the third combination (ii, v), will then be RA, GU; antle 1 have, Nov, let me mooolloot ecolloot myself a bit; as you hare 6 remitanic notes plete seales with 8 notes. (ASHTAKA.) in each half, the interpale mako up together 5 soiitones or 2) tones GAN. But irst of all, lot us ingert your now names for the notes in il, iv .= RA, Gt, nd you non mri that betwien tho two balves themsolves these combintious, so as to,soo moru clourly how they stand. ( ii, v .= RA, GU; taure is I tond, (m, sotaitones, one on either addo of tho black-bird Pia. And lot as see it in Statf Notation too. VIDU. "O upright judge, mark Jew, O learned judgor: ia the middje), so that on the whole yuu have 2}+1-2)=6 toneu in MAD. Very well! letus firat take the immutable extremes in the two GAN. Now fer the othora: (iii, iv); and (iii. v:) I don't suppose I can nse stl wi hiu the octave pand this, in uvery one of the 72 moded. tetrachurds. The namee will be the same as tho old onos, vis., (i) SA, We roguired no ghust to toll us thet : it there are 13 Somitics (vi) MA, in the lower tetrachord and (i) PA, (vi) SA in the higher. RA ngair bocause (ii) has disappoared. I enn't soy, GA, Gl; becnuse n8 Vidu. anid juat now, ganders and gerso belong lo the same gnng: eabeing at the distance of a wer iped each, the total distance in 19 LAE. Hut why call (vi) of the upper tetrachord by the same namo as whereas, neenrding to our piostulutes, thero must bu n ripalsretative of wiaipeds or hall feet, or o waele fout,-group them as you mayl Tes bat let ua feel pur vhe, murely and steadily. (1) of the luwer ? You musicians bave no iota of discrimination. the RA-RI-RU group in the uames used; well thon, I'll sny kl. GI. GAN. You forgot that it ia the 13th among the somitonio notes, which MAD. Hurrahi punh on ! You'll wonn be the "now.crowned mwunarch"! Now then, thế two hhvn buing cqual, the progees of combluation E was statod to be the samo aa tho frat orcopt in pitch. GAN. Tho only romaining group is (iv. v;) and as I bavo not ueed BU eut bp ideatical in bora, iut as wianat havo unly 8 notes for tho yot, I call it RU, GU j and thero I Enro donc. (Apluuse). me, weian takuoaly + ats tie fromranh half: ( wueneh th Greek' Mno. It is for this roason that tho Gormans writo tho flrat as C, and tho ViDc. ""Tia very trun: O wiee auil upright Judeet How mach motr s. Torachord;ia Jndla tre call tho lever hale PURVANIIA and higher vetavosns o, G, &e, whilo elder art thou then thy looks!" d pper hall UTTARANGAY Sue the wgiestion arisen, which s wo Indians pus dots above and migs puslot the O shall pe soun tiking in euceussioo, as at to formn. uelaw to show the difteroaco MAD. Now then to recapitulnte, follewing the same proceiare for.the ia pitel; hut you will noe from uppor tetrachord also 1 llo .. Y the Staff Notation what a loftier pitou is asaigned to cach suo- GAN. I'lido it mynoll, it is so divine! O!I can now reuline whit Colnss 12 .. (v) (vi) cessive ocisvo, though the same bus must have folt when hu tirst Janded in Amerida and kissed the unne in used for conveniunce of roferenco and for showing the idon- gronnd ITho whole of the combinations will stand thus -is. Jurtaooe, briedy, come, instance." tity of the sound in the higher roplicatos or octaves (ASHTAMA). Gas. This Stail Notation is magnificent, I say, ns oompared with other CHAKHAS VARYING NOTES LOWKR TETRACHORD Crren TATRACHORD. ah it is tery rimpla; the noarest 4, of couree, to begin with; viz., (i) tr (iv) iu each hall,-he., it you go by rhymu or renaon. methous of writing. When on carth will you toach us how to write all the melodios wo know, in this languago? I. RA, GA; TDHA, NA. .lut you muet reach the octaro in each neale ; of horwiso it will be Lo feato at all; it is for this express roasuu that it was aided as tho MAD. I will do tbat at s soparato sitting by and by. (Vide App. II.) Let us get on with the esplapations of the aystom; where did I loavo off ? RA, GI DHA, NI. th tu tho 7 principal motes, and ae the Inth to the 12 semitonic notes. ."Shallor, shallew, a better fustance, come." JAY. You muat now give your boautifal now names to tho i rarying noloe III li, Y1 RÀ, GU: DHA, NU. in eaeh tetrachord. IV L Dask it! tako tho octavo then, instead of the (iv) in tho upper half. MAD. Ua! now cowos the explanation for the, paradoz which Lak, dis. RI, GI; DHI, NI. i4h. "hen the distance from (iv) in the lower half to (i)iu tho uppor covered in onr giving 16 names for our notos (via., 4 immutablos plus Rí, GU; DHI, NU. ull be 4 semitonca or " toncs, LP, scarly as mach ns there in in s 4X3=12 mutablos or 10 damnablos in all). hoie tocrachord by itsoll, and so big a jump will never do DIU. NU. Shluw agsin, a moro toun der fuat inec, couo ?" LAK. Yes, indood, I am sure yon will novor get over that ! RU, GU;

You're pas youmfoot into tho diteh Mab. Tho Viniautables wo bavo dono with : SA, MA, PA, SA. MAD. Now oll you have lo do is to nild the immutabln estremos (i, vi) Nor Counding depth nor keight sior jarh LAK. Walt; the nomcs are only. 3 howovor , you repont tho first twice. to tho two totracbords j tnking SA, MA, yon hare six half wrales fer Cow try, gut out mathout.a hitcli. Mab. You aro right thero; the other imiutablo is tlo note I isolated the lower tetrachord, wbich I shall mark au I (a) to VI , takine just now, visi tho sharp 4th, callod MI by VRNKATAMAKUL PA, SA, for the upper totrachord, you have six moro half scales Coiound it all I yoa will be che-kmnting me at orury surn, wilt Yipe. The excommunicated Peliosn I but destinod to discharge highly which I ahall distingciel as 1 (b) to VI(6). I shall now writs then ns new andea,ephl roatrictiun, waich subeuy esn pvept. For P'ontitical functions by and by ! all duwn in Stad Notation, showiag an clearly ny possiblo the trun dru-no suog lcp me minhdraw and bont an touoabaido rotreat 1 PIA. But why class it among 'hu iromutables? rodistribation of iutervals and the procers of interwenting ncalon. Mois shallow mao! Learu fthe wiad ovt porjeud! Now, Gana, mnend the justsace, come !' MAD. Wo'll como to that presontly ; I wanted it to remsin incognito for PÜRVĀNGA. Why mix ep the two halvos at oner Fas theg are both alike and tho swhilo; but I sce it won'ty nor will you let it f UTTARĪNGA. eon tamtione must boho mime in lft. I kould confue my attention GAN. In medio atei virtus. It is too powerful s noto to be supprossed. Lower Tetrachord Upper tetrachord to one half, say the loyrer, and aftor sntuling whnt nombinations aro Medio tutimsimus sbis. It is safout in its contrul strong.hold ! Gussiule in it. I. would simply rupest thet for the upper half ! 1 MAD. Lot ua first have done with the 12 mutables; thoir namon aro ;- Tones. A 11 1 14 That's the right courso. (Second) & (Sizth) (Third) & (Seventh) Total "A Daziel come to jadgmont!gen, a Daniel !'' Lower tetraghord RA, RI, RU; GA, GI, GU G (a) Now ten, taking only one, half ui . neate inta cone lorstion, Upper tetrachord DHA, DHI DHU; NA, NI, NU; D ~ wouhk yoq bogin,and where w - Fnlt Thir makes a grand total for mutables. (i) (i) (iU) (on) Any child can may thet : Logln with vic Sa wenna rtul with the ast. of course, in osoh combination MANG. Now for applying these uauies; 1 am burning with curiosity to KA GA see huw 12 names aro to be compressed within the spaco of 8 notos Why, of courao ? and why in cach u winntion 2 why not itnp any. (i1), (iii, (iv,) (v). Tones. 1 1 1 1 1 wher, in the middle, su somo combir s. cg., ( il. ht.)? MAD. I shall writo down below the aix combipations which we found to fine. God help thoe, ghallow man, Guil inako incision in thee, tuon nrt be pnasible with thoso 4,varinble notos; you bottor try and fit in tho a. Suroly, il thee rennest s raco, thou canet not stopin the unmes yoursulvos. Hore aru tho combinations. iate and win the prizo? in. Yest always slart at ghe starsing point aad atop at the stopping LAt. Lo' me seo (il, ili,) (ii, iv;) (if, v;) (ili, iv ;) (iii, vs) (iv, v.) (i) (ii) (iv) (vi) (ii) (iv) (vi) II (a)

priit thab is to aay, begin with the indtial nose of banh tetrachord Why noc Bay 7 RA, IT, RU; GA, GI, GU, DHA, DHI, DIU, Na, Ni, Nu; RA , GI VA PA DUA NI nud olie with ita Goal nots inyariably, in other wonla, make sure Wean tho aio extremien (i)sod (vi) nro dsed ami reninin imnmatable or vith rhyme if ? g3, GA,RI, GI, RU, GU, DHA, NA. DUI, NI; DHU, NU not with renson Tones. I 1} 1 = =6 auik yoo may noc run siny h gond tan god or atop thort of idl (D) k I cee rou've hean benting abont theduna fur uin last lialf Lour VIDO "U Lin in daliberata Toolel whon they do choose, o bmne o thia coafounded inmulabnity of yours: Tady buve tho windum by their wit to lose l' laN"This clears our ground and no can aow feel our wny more caroly. Let ua go abont it muro considerately. In giving tho names, you That le to my, ont of thn rix phi a in ench sutreebnrd, you nail must in the first place tako good care that the 8 Notos of the sould (ii) (v) (ri) RA 7GU TA DIIA NU donu di che groand tho fret aud tho last (1) md (vl) nutt leavu tho Tour SA E nniddlo (if, iti, jv. v), dangling nboat in tho nir, ut tho morcy nre eniled by somu represoulative or othor of tho 8 angiont names, o. (Ba, Ilt, Gu, Ma, Pa, Dla, Ni, Sa). Tho 8 now names nro yig mode-mougers, to be hackucyed nbdut at will! mero yowel-modificutions of tho old ousa, invoutod to show thoir Tohes. 1 1 - a Exnctly, all ghe variatipne to be crentod mu t ln gos out of theso wiying charnctor more cloarly aud briody ;" tho 8' uames yon, give Toar notu, (Li), (Li) (ig), (v) Now thep, how will you prncood! alwuuld thorefore begin with the ubove 8 consouante j and it followa that A Whyh thet che cimpleet procesa of permutationa and combin- 40 2 cousucutivo notos coniing toguthor in the ordinary courso of combi- nation should be called Ly names of tho same group,"e.g., you can't (P (u) (v) ci) (1) IV (a) lap Come along pat them together, let us ece! call (if, pii,) RA, RI, or DHA DHI. Do yon follow mo? DII NI S lec. Hfere you arI dmt take (il) and combinc them with the reat LAE. Hung mo, it I do! GAN. I think, I do: lot me try my hand at it. It in awfally interesting. Toues. 1 1 - SThen I take (iin) and I find ) ((iit), (iv); =6 Cil (vLI cia make, oh ? ouly two - t(iii), (v) ; I 'shall bogin with tho Jower totrachord. It iw curious; and thon hang it! Irin make only ono more, (iv), (v). Vint. "Vainika, and the rest, atand ull aloot, That males sis combinatiuns in all; Iint surely, I thought I'wonld Let Musio soand, whilo he doth mato uis choice; Then, if he lose, he makus a swan-like end, (i) (üi), (v) (vi) V (a) Iablo lo make more out of them. Suppose I go bnchwarde, Lhus . Gvs ) (iD): (v), (ii), ete., I'll have some moro Fading in Muuio ..... ... He may wio RI GU te Thaihs tra th ing overthn same ground; whether goa go baek. And what is Mario thn P thon Muaio is, ards offorwarde, or ae we say in musie escend or desgend, tho com- Even aa tho fourish, whea true sabjocis bow, na jone, nu ta tho tome just ax C DE FF E D C in Algebre To a now crowpod monarch ..... ... Go llercules!" Tones. 1} 1 e erer offerus ou a prite for ranning over the nime race. GAN. Tue first combination is (ii, iij,) I can't call it RA, RI; becquso as you mny, tho third note (iii) of the senlo should bo called by a ropre; -e- Ife'as backe sllaing Crah, From : lo land of Quoen Mab, Althongh sentative of the gryup GA, GI, GU, J'Il eall tho Brd GA; aud then lot mo sce. howi doen tho fret half-scale read ? SA, RA, GA, MA! (iv) () (i) SA IU GU -VI (a) MAu. Spluudid, bravo; you are on the right track ; proceed !

11 204 102

L.Ax. Judging from the purely mechadioal aspect of it all, this scemn to Vot. I couldn'e possibly corceive why you nsod a donblo Flat for E andi Vrot. Very well: but where are onr Minors in your lyatem: wolt be plausible enough, althougl you havo complicatod it dresdfuliy Bonly and a sharp for D and A only. This accodota fo it. been changing them so often and have now so maay rew form. with your algsbraical symbols and your confoundod oombinations and Puy But dccording to our Notation, which you hare adopted, you can is uttorly impossible that they can all ozist in your antiquated zoin! permutationa. An wriwhat it fs from a purely Muuical point of view. givo 5 nambs to onch of the 7 notes; making 85 in all thas: MAD. I beg yous pardon; they nre nll as old as our Himalayas! T1 I mumt loere tbat io tho musicians in tho Moon to judgo 1 oldest of your torms, corrosponding to the Aolian Minor of th GAx. Bat let un soe thu redietribntion of these namtoa as applied-to the Cescoá Ces C Cia Ciscia Grocians, olearly went orer from here, encaping from all;our Ludon; notes on the key-hoard of the Pianolorte. Sccond Donuea . Dos D Dis Diadin The Tonic Solfn welioel rutunen it Ra LA, BI, DO, RE, MI, FA. 801 Man Harp you nrc: Ea R Ein Eisoi and no forth. LA, which in the Gos aan nyutmn wis reprosented by the alphabetiep Fourth Fosfen Fes Fis Fisti characters, A. U, C, 1. K. F, G, A. This is mado up of our IV (a) an SA Lower tetrachond MA PA Upper tetrachord. SA Fifth Gesges Gos G Gis Gisgis II (b) and there in ovih. nly no reason why tho root-noto of tiia seal (i) (iv) (vi) (i) (iv) (v) (vi VAIN. Murder of murdorsl how can you poesibly aharpen or flatten the sbould huve been calhl A by the Grecians, oxcept because . (ii) |(il5 (v) (fi) (ill) C and G or Tonic and Dominant I Alas I Why have Ilived so long, to ace happened to be the first they henrd in India or from an Indian, brine theao latter.day iniquities and imbroglios ! Would that Ihad diod half a one of the moat popular and cmmon of our RAGAS, caller day earlior, boforo witnessing all thin hacking and hewing of the holiest NATHA BHAIRAVI, or NAHI RĪTI GAUĻA; mode No. 20. RA RU Dha Dhu of our holion! First thoy mutilnted the mystic MANTRAKSHARAS, RI, GA, DHA, NT, into all sorta of Mephistopholic malformutions, and Tones. 1 1 1 1 =6 RI Dhi now they put on 5 Tartario transformations on cach of the everlast. ingly immutablo SaUTI notea. Would that I had died, I say ! GI NI Vmu. You are at liberty to givo up the ghost now, and I am ready to put it in its proper piace, close to Mophistopholes in Tartarus! (ili) (iv) F (i) (i1) (ir) (vi) IV (a) GA GU NA NU GI MAD. There is somo justifection, I think, for his complaint in regard to PA. DHA NI yonr todifications of the Tonic and Dominant. Of the 6 notes in Viot. But we don't uso this form now in tho ascending acale, ns i hAE. You have ant yet polred the 16-dsmunblo puzzie each tetrachord, the two ertromes (i and vi) when combined form coptaida a full tone hetween the 7th nnd 8th. iko. Itwrau dow I. casy to unriddle tbat; countiog the names ia tho perfect consonant intorvala; "They are called perfect becsuse they aro IMMUABLE, novor chonging.from Major to Minnr or the MAD. Yon have therofore aubstitnted the Melodic minor, which agnin i sbure tsbin's you w'r and Lhat there aro 10 phuics for the (vi4-vies) 1 contrary, but becoming dissonant, whouover altored by a sharp aud nothing but a combination of our IV (h) and V (b) called GAUR! putes (ic., nufatitui the higher SA for the sharp MI pro tempore) : flat or natural." (Calcott's Grammar of Music). MANOHAILI, or GAURI VEĻAVALI ; modo No. 23. faking the ponitions of the putes on the Piano, you will aco that GAN. There is morcover absolatoly no necessity for varying these thd S,Farictice of the Sccmd-RA. Fstand thus: fundumentel notes, because when sharponed or flattened they bocome Tones. 1 1 1 1 while the Sixth- DHA, DII, DHU, idontical with tho notes above and below thom, which have thoir own Thinl- GA. t GU, Lue 3 varicties of tre Sovunth-NA, NI, NU, stand thes: 4 names and legitimato funetions. VIOL. It in tho same with other notee, but you will be alwnys harping on your own strings and looking throngh your own coloared glasses! IV (a] Vioe. Two topsy-tarvy triangles twistod togother a fort et a trarers! P'IA. We have to give so many different names on account of the (iii) (iv) (vi) MAD. You will sce also from the nuiborsat the top, that Nes. (if) and (v) numerous transpositions which our key-board system rendors availablo RI GI- MA PA , DHI- NU which are tho eztromes of the varying notes, hnve only one name i to us, and it is this facility, that has given riso to the writing of our Louer Tetrachord, (h) RA, and (v) GU ; ? Thie is a very impor. Upper Tetrochord. (ii) DIIA, and (v) NU; tant point. musio in ho many differout olefs. PIA, Well we do not ndopt thia modification either, In modern music, an MAD. Although you give different names in didforent clefe, the functiona the leading noto is required ouly for tho dsoending and not, for the GAN. It is apparently fur this resson, that theee 4 notes have been doscandiug scale, in which we keep to the Aolian with the fint 6th alupted, with the 4 immutablos, for nur bonutiful MAYA MAUAV of the sovorai notes romuin tho same i so that wich all your modu. GAULA, in which all our eletnontary leasons aro taught,- singloncas Intions and accidontnls, the Tonlo, and Dominant rotain thoir in and 7th, no that tho acale, ealted arbitrary ininor, athads thus ef name being a groat advantage to hoginners dividuality abenlutoly untouched, and play a rolo, qnito distinot from TonoR, 1 1 = 1k 2 ** =6 the* othor notes. Onr prinolplo of povor sobjoting themn to any modifications is thereforo quito euund and propor 1il (6) VIOL. It is tho oll story of the double-coloured shield I let na get on. Pr. Yon haven't told ns yot, how yon got your 72 combinstions. All you (ii) (v) (Ti) have given us is 6 half acalea for the lower tetrachord, I (a) to VI (a); (vi) aod 6 more for tho upper, I (b) to VI (b). SA RI GI MA PA DII NU SA SA NI DIA PA MI GI BI SA GU MA FA DIA NU MAD. The process of intertexture is very simple'and plain ;- Firet tako I (a) ) and add to it ( I (b), 11 (b), ILI (b), you got 6 modos VAIN. (Gaping wide) Eh! How on enrth can youthavo ond scalo for Map That is one rosson, Other reasons ovidontly ere: the proximity ascending and another for descending ? You guntlemen of the Wgat f theso notea to tho starting aud slopping points in each tetrachord Then take II (a) , (a) succenaively [ IV(b), V (b), V1 (b); J i.c., Nos.1 to 7 to 1 seem to have broken down overy barric: of rule and restraint, and the sod the eady asceut by semitones between every two notes of the most clementary aud fundamental prineiples of right and wroug. nt scale, so thnt the four atacen of the halt on the wsy are distinetly „ IV (a) " 13 to 18 19 to 24 recklessly, ruthlessly and remorscleasly, na the worst of the Varrine marked ly semitonra' and followed in rach case by bigger loupe, 25 to 30 ViDo. If all is fair in war and love, why not so with my Masic-dove i (1 or 1} tones). fut toiget on ; you will sen that, „ VI(a) ,, 31 to 36 VAIN. At this rate, wo can have 72x 72 modes; if not moro! No. iii han ) ( 1:, wud GA 7 f whilo No. iv S RU, And GI. VIDE. Ehl these modes have bred like mice ! 36 yielded in a trice GAN. Well, oven with us, this restriction applies only to the Paront twe namca Dill, nnd NA S I has sion two f DAU, BIH NI. MAD. I shall now proceed to show how all the modorn tonalities. of modes: in our derivative RAG.AS. we don't stick to this rule of Europe, as well ns nll the anciont scalos of tho Greoks, and the modi similarity in the aseending and desrending scales prand as this dual VinG. I mnst ery, Fie, Fie, Fio! the question is ;- Why, why, why? oval modes of Gregory the Great, aro mere waifs and strays that went form is called the Arbitrary minor, it may be troated ne partaking of .. k. Don't yon see that yon are bagging the question ? I nak you why out in driblets from our grand storehouse liore, and that this of itaelf the nnture of a subsidiary acaie, and not a fundamental one. you givo two diferent names to the same animal (iv), viz., RU, nnd is nothing more than tho plain and simple result of the natural inyolu- tions and ovolutions formed out of theso I to VI (a) and I to VI (b). MAD. The Melodic minor was found to be the same aa the major in the Gl, and yon answer mt after beating about the bueh for an. hour that it is so becouse it is so. upper tetrachord, and a fat 6th apponred to be as necoasary as u flnt PIA. All our modern tonalitior ? rnbbieh ! 3rd to produce a real differonce between the modos; the Haranie Gav. Blotter bo patieje ord hear us out; yon fouud that for the firet M.D. Take our V (a) and V (b) ; entodiluvian as it is, with the magnifi- minor has thereforo now beon ndopted na the most satistactory form combination, (iusn i you could not use the names SA, ILA, JCI, MA: cont namo DIIRA SANKARABHARANA, you find thoroin your of the minor, as it differs materially from tho major, but nevertheloes bedauso a represcntive of the (GANDHARA) gandor-fumily was Diatonic Major soale, with the leading note, terminal semitones contains the leading noto. Very interesting combinstions of chords wanting, sod yoa bad therofore to mako it SA, RA, GA, MA. It ie prucisely to nvoid thia einshing of names of the eame roup, that we and every conceivnble shade and shadow of your moderu tonniity. and necords are rendered possible with this form, and it is now just !.. estimuted at ita grout artistic and intrinsio worth, in the West also. have tp give 8 names for thu 4 varinble notes. (ii, fil, iv, v.) This has been our mnode No. 29, for ages and ages Mso. It is tho anme in Sinf! Notation: in writing a zcale, the B noten Tones, 1 1 1 1 Tones, I 1 14 =6 must follow one aneslinrregalariy, in aternnto liues and apaces on the JII (b) stare ; I can't put 2 an't put 2 emtrentive notes ou the zaine line or wpace ; c.g. V.(b) I am thoreforo LAND- obligod to IV (a) ify the langaage (i) (iii) (+) (vi) (1)(iii) (v) (1) (ili) (iv) (yi) V (a)

and writo n GSA PA DHI NU RI , GI PA DHA NU SA SAE PA DUA DHI SA PA VAIN. You cannot imagine whut aplendid masterpieces we havo in this GAN. That is to say, they have just now beon moamerised by the upper NI NU SA

modo. You entone your melodies so dryly and uufeeliugly.,Our tetrachord of our 15th mode, MAYA MALAVA GAULA which ha woi 'L gires dilr. oreny namesand Nuancee ual other special methods of treatment mako it something been our trensure of treasures for the last 3000 yoarat positione for ank so suporhumanly unchautingl And then jast to think of tho dorivativo VAIN. So, I see, they nre gravitating back towarde us ;from orcry sole. note, though the RAGAS wo have in it; Oh I Oh I (Smacks hia lips). MAD. This latest of thoir combinationu of Minor onlled Harmonic on PA DIA NA SA PA DHU NO FA purport iseractly the anme. MAD. We cannot nfford to be cemmenting upon the charms and alluro- account of the prosence of the Leuding note, has also eristed in onr GAX. How iotorosring oud plain all thie is made by your now abbro- monts of each and ovory ouo of the moder hero. Wo must rosorvo that syatem, in its intogrity, ab intiso, ns Moda No. 31, mude op of IV (a) riated names, aud this di ine notation ! for our 72 grand Scances, which we ehall, D. V., hold in due courso andill (b), under the names KIRANAVALI or KIRAVANE ( PIA to VAIN.) How did you expreas it nll under your old pomenolaturu! taking up each parcat, mode ono by one, ;in regular order,! and Pis. Thia is very strange indeed ! VAIN. I was taught to esy thnt the CHATUSRUTI RISHABIA was tho anslysing in detail, firat the physiognomical and then the sosthetical pceulinritios of each melody.mould falling thoreandor. MAD. Now, No 21 is noi a Diatonic scalo ; (this torm is itiolf a' misnomer, same se the BUDDHA GANDHARLA and so forth i But tho why and VAIN. In other words, wo shall onter into enoh of our 72 grent h as it means a sonle proceeding by tonca, whore: no5e of theso do so). the wherefore 3 slinuld haru thouglt it sinful to enquiro or know, any NANDAVANAS and oramino at loisure the wondorful wuya in which In the I.rmonic minor, the intervnl botwernthe oth and 7th in more then why & and 2 make 4, or why it in "that the property of th min is to wet and firo to barn, thet good' pnaturo makeu fat sheep, onr akilfnl gardeneru wrougat their bonquets and arrangod tholr tones, qa in sevoral of cur scnies: but the leading note is all in all: fraiterios ont of the frngrant lowers and the golden opples tboy GAN. Then aurely, there is no renson, why all onr other soales contnin 'aud tiet a groat caree of the night i lack of the sa0." Vwov. " Such a one is a natural philoaupher." You'ro n Philiatino ! fonnd in the richly-laden roponitorios hiddou in eaoh of those grovus ing tho londing note, vit., 1(n) to VI (a), odmblned with I:T (0) VIDD. " Under tho greun-wood troe, ............... gross fools as Lo ...... " V (b) and VI (b) abould not be suitable for Harmony! MAD. We'll come tothat by and t.

.12

i sodia like to kooy which of theso 30 modes of oura would be Msn. The first mode you mentioned No .. 8 (Phrygian) fa our HANUMA cfauitledas Diatonic necording fotbe Huropoan thoory. TODt or JANNA TODI, in which, ns I alroady pointed ont, the GAN. That is to any, all sorious insic, chienly thal uaol for purpyow Titl The Mujer (your No 20) and somo forma of tho Sinnr (your nemitones occupy the firat instosd of tho last inlorvals in oach davatinu, pathus aind emotion, would reeede farther ot furthe- ton tetruchord. In thu dorivntivo RAGA, callod TODI, the fifth should Mode No. 29 and tend neurer and teirer to-one f meder iu th Noa. 30 nad 23) aro oulled Diatopic, (whic, mneans, prucceding by na), na tho majority of the sotorvals ard tonea. proporly spoaking be dntirely eliminatod from tha sonle, and thero nr8 Leginning of dur achomo, c.g., 8 to 28. 1 obeerze inry r/l the Eat per minors aro witulu this group, wich bns n larger smuber of flats. Man But why not rocognisglas oqually Diatonic, all the scales genor. several pioces comyosud in accordanco vich this rigid principle; but ated by the samo white keys of the Piano, which aro cailed nataral almost ull melddies now sung in TOnI are in the paront modo itsoll. yIDU. I gathor from what yon any that Europonn Mor in best fitief for laughing, duuciug and morry-mnking, while youra la nptest fur d make up your majer? The poaition of tho semitones doos not Toues. wooping, howling and grimncing! I don't brhieve you hare por s single March, Dance or Warlike song, in tho wholo rango of your Mur whulo! The medioval modes wero al Diatonic iu Lhia enDad. from Gooch Bolinr to Cape Comarin, or Uabal to Caleutt -! D) II II (b) w Hlow do yon mean VAIH Wo nro ull for prayort piety t and patlim! w. Beginning with cach white key, in aucremioa, you get Diatanic (i) (ii) (iv) (vi) ViDu. Ah! Ahl Ah! that is ;- defent ldegradntion !and downtall! seales corrasponding to our. Modes, as uhown Lolow. (iv) (v (i) RA Gr TMA PA DHA NI GAN. Yusg possoasing ua wo do all the materials Wosterns have, and 1. Take the Firat Of you hare pur No. 29. (Y a + V 8) oven in grester quperabundance thau they, thore is nothing to VAIN. How I wish to plunge hendlong into the raptpres which the baro. prevent us from dancing in il modo lascivo all our livos, but wo deliber- SANKARABHARANA (Aucient and Medieval louian) mention of thia RAGA producen on my mind , I can bo repenting tho ately choono the moat plaintivo and pathetic ef-oor modes, as all our artistio closo of this RAGA, with 2 toned, ris., DHA, NI, SA, alopo with. renl uusic is addressed to the beity aloan,nud udmite of no NARA- ont conel., night apd day, for a wholo lifo timel STUTI, human praise, or vulgar amnsoment, .. much so tust, even MAD. Wait, I toll yon, till wo come to the analysis of cach mode The where Princee and Notabilitiew are praised, it is atwaye done in the PA DHI nest diatonio wguig not usod by Buropeane nt prewont is No 22 names of tho gods and not direotly in honoar of mortals, tho Dorian, KHAKAHARAPRIYA Or BRINAGA, NAD. All thia Ix bosido the question: tho main phint is thay thong la Tuầu the Sqoon& D iggu goi put No. 22. (1V a + IV 1) (Tones. 1 1 abeolutoly nothing in other aystoms, which wa do nol poaress, (exeept KHARAHARAPRIYA, (Dorian). of coursu Ilarmony as now cultivated in Europo, regarding the great gleries of which we ahall diacusa in eztenao by and by.) IV (b) VAIN. This is ali vory curious: R8 Monsieur Jourdain pus astonished to find that he was apenking prose sll his life withens know/ing whether (iii) (iv) (vi) (1) (H) (iv) (vi) it was proae or poetry, wo we are astonished trtiod nl'l yoer modern SZ PA 6A SA RI GI MA RI GI MA PA DHI . NI 84 suarchen for a satisfactory tonnlity alrondy neicitgired and fossilised in our ancient systom, though we novet know whint a leading note was 3. Tako the Third E; yon get our No. 8, (1I a + 11 b) VAIN. Besidos SRIRAGA (which in Northern India is treated as the first of the "Sir principal RAGAS of the Hindus,") we havo the required for and what uao yow. would mako of it in Harmong ? TODI. (Phryyian) benutiful melody-mould MADHYAMAVATI, which ja utilised for tho MAD. Our ancient Rishis sot ahout the burinesu aystomntically and purpose of counteracting all sinistor inuences produced by singing founded a complete science. The astute Grecians managod to stea!

our RtAGAS at unseasonablo houra; thie RAGA alone is suficient to from them only a fow strny relics, as the inferunl soerecy and suicida!

show tho value of the parent mode tor melodic purposes. mysticiam of our virtaori led to the concealment and ontimely erema- tion of overything good and great nmongst them. The grent wonder SA KA GI MA PA DHIA MAD. Yea; but the oliminntion of the third from this RAGA rendera ita Tako the Fourth E; you gut our No. G5. (Va + V b) parentage doubtful to some extont; but wo must resorvo all this, It is that so much ever survived at all, amidst so many politieal revolutions and such whole-milo supprossion of Iotters and buruing AALyANL (Lydian, enth F tharp.) uas, for its proper place. Tho other Digtonic scale roferred to is No. 28 (Mizolydinn) IARI KAMBODHI or HARIKEDĀRAGAUĻA; of libraries during the Mubamudan sway.

tho mode in which Manikku sang her first tune and which led the way JAYA. The modieval musicians of Europe built up n gigantic Babel os to all thia dispuasion. With the exception of tho seveuth, wrhich is Bas . thoir own, with their Hezachord, hard and soft, thnir authentic nnd it is the game ss the Major,j plagal modos and heaps of further coinpliestione, which their icuno. olastio enccessors gradually domolinhed, searchipg nfter Harmony Tonea. 1 1 1 =6 alone. But Harmony ia only a supereirncture nnd mst he based on IV (b Taha the Flíth G a yoa gel onr Nu. 28. ( a + 1V 6 molody of somo kind. Now all Bearch for divoritin in mnekaly murt

NAMBODILL (N E6., Ban), necossa.ily end in hitting upon sbmy une or uther of our gigantie net.work of modua and mclody-mouldk which, as wo jumt raw. (a) includos all the forms of the so.called modern.tmnality, Majur, Minve

RI PA DHI NI BA and overything else, anciont aud me lioval. VIDU. A judgmont, obl a judgmont1 GAN, IL is really a very great pity that tho absence of the leading note PiA. It is all ponsonao; the distiuction between majer aud miner is A PA BA whuts out all these incxhaustible mines of melodic wealth from tho itaolf arbitrary and must fant dio out. Surly a mumiciun munt bn Cite the Sizth Af you have our No. 20. (IV a + 11 6) scopo of the great musters of the art in the Weat. BHAIRAVI. PiA. Yem, all theao czieted in the medieval scheme of 14 modes, and free to use what notus bo likes for hin purponen, juet in tho ssmu way

the Grugorian Chnnte now rotain sevoral of them in thoir iutegrity. na Beethoven began with your No. 15 belore be diod. He coranly never drouint of sticking to that mudo throu hout that pioee: fu MAD. I have not the slightest doubt but that most of the national or popular songs of Europe, e.y, the Volkalieder of Germany, the Canti aughl I kuow, he tnight hnve mixed up a 1000 other bahroua ạ ale

Tpopulari of Italy, the Ballade of England, the Reels and Strathapeys of Chiuese, Malayan, Bataviau and West ludian, oue aftor another, jut

PA*DHA NI SA Scotland, ete., wero originally in these modes; they haye now been for tho, sako of cariosity, if not open ridigulo!

metamorphosed according to the modern notiens of tonality and VIOL. Yes, I think our musio will, in the vory nenr luture, bocome somi-

thu roquiroments of Harmony, A flood of new light will be thrown thing quite univerapl and embrace orerything in itself, the systen. s How curiously doos the order of our seriul nuibers (which i becuming as elastic aud world-wide ss tho British em pire itself. wsyeular) get iutermired here ? 29, 52, 8, 05, 29 and 20' over the structuro ond origin of these melodies, if they are re-examined ap Wuen bunevor you begin with the (Seventh) L you get no acalo n the light of our scale-formating-principles,-all the melodies MAD. That's juat what I any, it will end in primordial chaus. Stent

d il, as the sith noto from SI dues not give us our immntable beiag reluced to writing in tho key of C, which must invariably erat in principio ; ante mareet te. 'us! rudis indigestaque moles !

PANCHAMA, Lut p fpt ffth, trhich is inwlmissible in our system. be taken as the Aoal and the tonip iu evory casc. VIDD. Just liko the good olif Anvlo-Saxou which haw now Lecome thg PiA. The oriants! tinge is strongly visible in tho melodies of Hungary ontnium gatherum of evory Lrogue and palis upon carth t brayeu pro nght as to the lact, our mudioval musiciana similarly roertedlghe Lucrian modd, with thu Quintu fuled, (81 coutra FA)jna Andalusin, Soluvonia, Scandinavid, and other European countries ; e.g JATA. " You wero not bid to spenk "

rrepular Ad,for tho reat you bavo.Lamed, we already. found that Of all Spauigh songe, those of Andalusia aro the most bonatiful. In VIDU "No, my goud Lord, ar Nos 22, 8, 2 and 20 sert unsuited for harmony and uselena those pho &ustern oloment is deepeat and richest, and the unmistako. Nor wisb'd torhcld my peace." ie dir parposcs, and theroforo the question whesher they pro able sign of ita presence are the following traita :-- frst, a profasion of JAYA, "1 wish you now, then." Thertale or not doea hot aring. Your No. 0o with th iritone nud an oruamouts around tho central melody ; secondly, n polyrhythmic cast VIDI. Mum ! wikmanted fourth is of course orer-diutonie nud therofurq inudiiuzible, of wusic,-tho simultanoous cristonco of different rhythiog in din. erent parta; und chirdly, the poculinrity of the meludies being basod JAYA. But why talk of the foture; let us denl with esisting Tart. tongh it contains tho Icading nuto. on aoprious acale, w.hich is apparoutly founded on the iotervala of the Pia. All this requires n most patient and chiTul wtudy, h4l doil-23 an We lave in our rystem no less than 9 Matonic seales, (uding thut term la ite practicel scnse, pis., by tones end nemitoues.) These aru Phrygiun and Mirolydian modes." wa aro not going to descend fromthe lafty huigllts to which out

(Il (a) combined with [I (b), IV (L), aud V (L),=3 modes 8, 10 and 11 Gan. Thot is to say/ our modea Nog. 8 und 28, TODI and KAMBODHI. develupments in Harmony huve lod us ; all wes in do ta to look ton

=3 modes 20, 22, and 23. The best exumplo of, the- polyrhythmio cust you will find in our upon your system as an antediluviun rehe nai I to tue walls of a

MADDAJA accompaniments, which to forcigu ears must appear a antiqoo Musoum I -3 modes 20, 26 and 29. chaos of noisy drumming, duliberately muintained for drowniug VIot. Hut let us go ovor the full length and breadch of this mudien museam to the end, at least for the sake of curiority. Of these Ditonic Modes, the tiuat popular among us aro the music, but which is thoroughly scientifie and quite intelligiblo to us. 8. TODL; (Phrygure) Viou. Yes: your tom-toms ure uotorious from Fiji to Fiji! PiA. But Lcnu you have uccounted for only Ih mudes Hur ahet :E

No. 20. BIAIRAVI; (.Edliun minor) MAD. The reason why our 20th mode has come to be your Major is romnining 36? As far as I cun judge, you have exhauuted all paowib

No. 2KHABAHARAPRIYA: (Dorian) No23 GAURI MANOUARI ; (Mclodic minor) clearly stated in the following passago; "The genoral opinion now combinationa

No.28. KAMBODHI, (Mizolydian) is that the old popular music of European couutries was based upon the Vive. Hnve you, indeed? then I am sure of my dear olil plum in u tniddlel I seo you have lett it untouched aftor all your wandetin. Ko. 29. SANKABABHARANA: (Joniun,-modern major) sate scale or mode as the modera mujor scslo, s.c., the Ionian modo but numerous eramples of other tonalities are extant. Thus among and meanderings, around it, and about it, and on both sides uf It is really doplorablo pue No. S, (1a+11b) No. 22, (1Va +IVb) others the " King's ballad"; and " Weatron wynde" agree in some of There it is, medio tutismimus, aud I'm guing to rob it!

d Nu. 2s. (Vat (yt) cpanot now be used in the Went. Some of tho VAIN. Rob it, and rue it ; we'vo just como for it! sou're oanght in ti.

nost meloabteda dalicious of all our melodies are in theso thrue heir many versionn with the Latin or Greek Dorian mode. The saay lonian mode-il modo lascivo, as'it was terme l-was the favourite of act, and must pay for it

oter chey, Imon oyur coropripo & peodigious nuu ber of deriva- ViDu. There's many s slip 'twixt the oup nnd the lip: eu jnetody-moulel, the very names of which send a thrill of delight strulling eingere and ballad. mongers; but the scholar end musician of the 10ch century diadained it. Even if he somctimos stoopod to uso Iattempted to sip, they've got m. en the hip, it, ho folt it to bo derogatory to bis art. The, subeequent adoption of With a grip, and a rip with tho típ of thn whip .... ka medt No B. DHANYASI, BHUI ALA, ASAYERI, eto ie N No.PL ARTRAGA, MADHYAMAVATI, MANIRANGU, eto. tbe modgrn syatem by oultivated muaicians in the poxt contury was JAYA. Sbut up there, now 1 I'nv not going to havo any more .f t! attributablo to the infuonco of Itnlian Musio I'(Diotionary of porpotuai prattliag and rattling here! | Maslo under " Sonp. d Yinu. Mum, ... .... , but you ruttle a guod deal more then I do!

200 103

TEE LAS'T 3C MODES WITH F SHARP. Pm. Told yon not to be preachy; yon people will never sller to Pu. No doubt tho F sharp piay. a very promigent part in oc: u-1 Gas. Gume now, desrend fiom thy inolated hocse-top, thou whilom tho point, but nlways branch off to sometbing qnito irrolovant! almy, bot it is sbsurd to apoumosise it as yon dopor nssign ba it :l excommunicated P'elican ! in all thy statoI with all thy gracol iu full MAD. Nocte pluit tota, redeunt spectacula mane! The beanties of creation name immutablo functions un to tho F natdral; & fortiori to criale Pontifcal robes i come auw, thy time is comu : descond 1. n their ezternal aspoct romain unchanged, whether tho sun shinea or now serien of 38 modex expr sely for this purpong. ei VIDU, Oh ! whero will this Quizotio frenzy end ? whether tho moon throws a mystio veil over them, but iwhat VIOL. You scom to have done it, solcly for the love of mischiof, Or wherounto thy feverish crare as snd? prodigious differenco oocure in the offoota P Tho, change offonr MA knowing what clse to do with it, baving onice risolatod it, liko idiots GAN. "It is required, into MI produces similar effects on tho werthotioal mide of Wo uee it aa patt and parcel of tho wholo gamut, as it condaer You do awake yout faith. Thon nit staud still ; our firut 36 modes: tho transformation is as comploto na from sunlight Papecinlly to enbance tho two greatest charms in our system,-wsin! Or thoso that think it ie unlawful busincea to toonlight ! nre dne to Montaverde's diseoverics, but which you wore barhar. IBu nbout, lot thom dopart' LAE. Which in sunlight and which is moonlight ! egough to conden ., -- ris., Accidentain, and Modulation 11 SAR "Procced ! MaD. If you tako tho 7 colours of tho Rainbow, and compare them MAD. We thrashod t., cut bulore, hut na for nocidentals. J kuow h you would unscrupuun y murder passage dike the follalag, 1 GaN. No foot aball stir." " Muaic, awako her, striko! with the 7 principal notos of Mnsic, you will bo startled to find oe most 'Tis time, descend : bo atoue no more; appreach; extraordinarily olose analogy botwoon them (vide Instruction Book) inserting tho sharp, in every touccivable pomtlou-

Strike 'all that look upon with marvel! Come ;.. Now, the great note of Nature ia the Fourth, MA!1449767 e

I'll fll your plece np; stir, nay, come away." GAN. Yen; it is the first lisping sound uttered by grory apeciee of tho JLYa. Hermione'a coming to.ife after 16 yenrs afforded cortainly no great. ma m ma lian genns in tho animal kingdom, and tho initial er surpriso to Leunte, than will ue affordad to yon by the disruvory syllable of somo of the sweetest and tonderest appellations in all lnngnagos upop carth. Ma- ri-ya ga-du-n of the wouders wroueut iu our Manic by this persocuted Fourth, which has always been a stumibling block to musicians in cho Weet : PIA. "The aggregate sound of Natore, as beard in the roar of o diatant PIA. Aht now that you bnve come to it, tell us, without preachifying, city, or fhe waving folingo of u large forest, is said to bo a singlo

what uso yon are poing to mako of it. definito tone, of nppreciablo piteh. This tonu is held to be the middio F of tho pinno-forte, whiol may, therefore, be considered the key-noto Bab. We originally tonk the F Neturat (MA) an the iinmutablo oxtremn (vi) of the lower tewrachord, nud I showed you how wo mado up our of nnturo."-(Principles of Phyaies, by I'rof. U. Siliman.) Tho Chineso recognised it some thonsands of years ago, by teuching that "tho Ja ga- da - oida - ku - ra - ka first 30 modes with it. Now we romore it aud put in its place waters of the floang-bo, rushing by, intoned the kung;" called "the VAIN. & GAN. (Hissing & kocting) Shamo ! Shimo 1 Shamo! tho F sharp (M1). relegating the MA, to tho isolated honse-top great tone," in Chinese music, and one which corroaponds exactly MAD. We can nover tolerato n mutilation of this kind, and eanec vacated by the Mi ; andes wo get our last 30 Modes; in othur worde. thereforu regard the accidental sbarpening as a proper uso to v.A5 . theso last 30 thod a urn .nado up in uzeerly the same way na tho firet with our F, now considered by medern physicista to bu the actual noble a ereation of God can be puti In fact. our sentiments in th 36 .- with ouly turs ditferenco that we substituto tho P sharp (MI) tonic of Natare." (Rico). respoct are exaotly the same as those of Lonis Schucider, the gresi far the F Natur.1 (MA). Now 36 with MA 4 30 with Ml =s 721 VAIN. And this MA in tho SRUTI or concert pitoh for all fomale voicun in our systom, just De tho G or PA is tho SiUTI for male voices. contrapuntiat, who wroto, "Ono thing I must imprems on you; 1.r, our grand tetal of jarent modes; and there, I've donc. to banish for ever and nye the Dicais frota Gregorian Chant, nud fl VIDU. Eb? if the first 36 mice multiplied very Tast, why, these last 36 MAD .. .Now, thia noto of Nature, the 4th on the Musical ncale, is repres-

hare whelped faster still I But I see they uro exactly the samo mico onted by tho 4th colour in the Rainuow, GREEN : during the bright- the cross (the sign f in German is culled Kreue; cross) as tho Dev

ufter all, oxcept that they havo a olack belly instead of u schite. cat and prettiost aeasouw of the year, tho entire vegetable kingdom would. All that has ever been snid, or may yet be-said in ite justic decks hersolf in robes of this colour, and the landscape ie something cation is vain, a delusion and a snnre. Pis. You'po surcly joking ? Do you roally meau to toll me, serionsly, in lovely to behold! then follows aichunge, say, os in nutumn, and PIA. The slmiple resalt will be that your methods will atand proscriko all good conscience, wit hout laughing iu your sloeves, that thie is al though everything remains the same, the offecta, produced aro somo- like those of the Ecclcaisatical modes. the difference bet ween tho two stss of 88, and that thin in hów yon thing marvellous. So it is, I say, with onr modes in F natural and MAD. ' Let them bo; they'll be in good company | Then se for Mody latinn make out the whole of yoer grandiloquent 72 P those in F sharp1 you find tho E sharp moat convonient, as it helps to proville you wit

MAD, Yost so far as extornal appcarancea go. Vino./e Thab is to say, if yourimelodies with F notural aro foll of life 2'leading notes within an octave, one closing on the Tonic C for iL Fine, and the other on the Dominant G for the halt pause. . VI01. Downrighs nonsunes l SAR This is fouip! I wigh I couid sd vigour as in spring, those inF sharp will be lifalons, as the lesf- Pia. Wholcsslo buaibag1 join in the chorea. loạa troan iị autumn 1 Pin-Yest this liko the closo on the Dommant harmony is airepl

GAN. And I, ff I coula. EN. Thoy mny ho loatlons, bat not lifoleas 1 arnoY All thesc are tho triumphs of our moder rofdements!

And 1, If I wouldt MAD. Venkatamakhi givek a mooro familiar illantraslo whick speaks MAD. But an I Baid bofore, n chnuer of Tonio in the miadle of a piec

JAYA. And,i, it I tnro yon vhlumos bố và in eoplalning tho Hifferonee s lin aays1-juet in tho same Ia tnotamount to o tranaponitiin of th koy-boanf in the midalo ni n

Vid. Etornal perdition! VAIN. And 1, in my nert birth! way as n.drop of nour milk poured into u fall pall of puro millk converta Durformanen, nd it can pa s aa no nttractiens for na, boosuan nulfhiu the wholo iato an entirely new substance, fro which claritied butter to a natniber of illied koyn with tho sams intervels for tho euke ef ViDt. Parturieat montes, wscclor ridiculus mus! of the swectost fiavour aud of tho richest delicacy, is extracted,- varioty ia a poor shift altorether. Well then, barring theso ty LAK. You mako mountaine of your mole.hills? aimilarly tho introduction .of the F sharp in the firat 36 modesy functions, accidentals and me lulation, what is left for the F shar? Pis. All your gecso are swane! effects d comploto metamorphosis in their msthetical chhracter VIDE. Had you left me to eat tho plam, this gueition wonld not arise VIOL. Shake of yout daw-Cropa from the lion's mane! Viqu. "And hang a calf's akin on thoso rocreant limbe!" and opons ont to us quite a new mine of undrenmt of woalth. JAYA. Nuw, unless yon taate our olarified butter, you can't indge of ita MAb. It conld not be utilised as tho initial note or etarting point of the upper tetrachord becnuse is wnan faled ffth or guinta falea in itsclf. JATA. " P'ray you, no more of this! It is like tho howling of Irish taste or value y so, anless you study onr inclodie in the last 36 and ae such thoroughly unsuited for tho funotions of & correlative of wolves against the moon". the first and tho cighth, do na to mako np our grand SA-PA-SA. VAIN. Ou sharpwl fourth ie the LAX. Whorrin is ite luatre' modes, and the extremely diffoult and artiatio mannor in which wo manipulato our RAGAS theroin, you cannet realiso, their . musical VIDU. Rejected again! I have hopn of may plum yotl hrightest of our gomsl value ns distinguished from the rest. Pix. Show us its hrillianny 1 MAn. But trying it as tho immutable ertremo of the lomer totrdt ltord Go The mort brilhant of our PIA. Do you menn to any you sing quite as endily and freoly with tho after making full use of the F natural, it wss found that no valso fxod stara! objection could be ruised to its uugmented tone, aa it was onls or VAIx. The loveliest of mi. graccs! Viot. Point out ita beauty! F sbarp, and with your numorons flats aud double flata, as in your of the intermediato notes of tho full octave sad tho a SHUTI note MAD. The best suited for oran- LAE. Whut kind of ernumoutation 29th mode, our natural koy ? I mean, in vocal music .? VAIN. Certsinly ; try mo in any mode you like, and judgo. C, G, c, were left undisturbed. mentation and embellishment ! or embellishmont? Vais,. But why talk of the outer coat or varsiah, iguoring the roa GAs. The tranaj tor of our souls. SAR. Yon're ensily trangported PIA. (After cenmining Vain, in several modes.) Look here, Viol., this precision in intonation is gimply astonnding, -- stupendous,-incredible; intrinsio valuu of the thing itech: The graceful ;nuences and brantifu! VAB. The trausjidreer of our Vibr. Transpierced ? Then 'tis it cannot have been nequired without superhumau clorts! embellishmonts to which tho orher notes of tho scales were rundore hcarts: time you wure dend and buricdl VAIN. Well, gontlemen, yos can judge how I must have been driven sascepciblo by a. cumbiuntion with this noto were found to, ba ronle GaN. It effecta a metamorphosis) Lat. How? Ilow? Show! mad from infancy up to date ! you have now your books, ycar notations thing quite super - nutaral, and if our ancestors liad fhile in our whole saig Vats. It jastifet oar beliet in Pu. Why ? Why ? Say and what not I My poor ootogenarian head,-can't fiad even an apology to notice this, they must Eave been very great barbarians indecd.

for a hair on it,-onrriod overy thing; all the Music, for ovor 10,000 VinG. Iugree that this Feharp is super-natural, because it i Buper (nbove thu F) Natura l\ 115420 Uan. "You mast lanrew me fargantun'a month Brst ; 'tix s word too melodies io theao numborlcas MELAS nnd RAGAS, with all these sharps and flats,-all tho worda for tho ondloss stanzas compoued by MAb. . The F sharp thus ansumed quito as important a function an if great for any mouth of thin nug'a sizn, To say dy and so, to thosu particulare is more than to answer in a catechism"." my grent mnstors, and in o numbor of luoguages, Sanscrit, Prakrit and eyounger sistor tho F Nutural, and our, last 30 modes give uw tle

Pis. But badinugenpsrt, are yon rually in carnest in suying thar yon the whole undivfded family of the Dravidian roup ! profoundest relish of tho ouly trne instinot, which cau bo recugniae

simply repeat tl fnt 34, with eudy the Faltered ? I can't belieye it ! ViDU. I rondily give you credit for montrosity of an antediluvian typo! as musical, and we enjoy it to our hoart's content.

Viue Year idea rl a neparato mtele, with the chnngo of but a singlo PiA. But why on earth do you complicato your system by mngnitying Pit. Icannot, for tho lite of me, imagine what on carth you can nikos

moto in each, wus ridieulouy unoub! But to pretend to manufacture these senlea into No many differont modns? Why 'not be more sobor nles with ench a meilley of sharps aod Sats. Yon mertiem lt

another set of 36, with erdetly tho, same materials, subatituting only and rocogniso only tho VI CHAKRAS as modes, and treat the other lot of favourito modes among the first 36h can yon givo ns tn idos

the F sbarp throughout, is wimply preposterons! Now, tell mo combinations as subsidiary scalds falling under theso six ? Wo dosc of fwhat you chiety reliah among the last 36 2s

caudidly, dou't you think 1 am right ? ourseives, for, though we havo 4 forma for the minor, (which you VIDU. Now is the timo for Philip the Drunk Lcomo now, play your play

Vibn. You'ro appealing Irom Philip tho C ler to Philip tho Drunk! stupidly couvert into 4 difterent modeu,) wo recoguiso only 2 main as you only can !

Ilo was somew liat anber, when dealing with the l' natural, you'll find modes, Major and Minor. A Mn. Most cheerfuils. Modo No. 29, which corresponds to your Major

him dead-drunk wik hs sharpenod Fonrth! VIDU. That won't look so grandioao or grand-motherly ; will it ? becomos (by adding 36) No. 65; MECHA or SANTA KALTĀNI, Lax. Why uot cmnko yuur other immutabies, C. G, o slso sharp, and GAN. That will nover do. Not only does tho charaoteriatio varying noto about which wo liave had some sharp discussiob already. It hns theco preteud to ereatr 3 muro sets of 30 modes ? in each modn completely alter its wsthetic character, but our methods cousecutivu tones in tho luwer tetrachord and correuponds to the

Pia. That'a going to the other extremity ! we object to the ezistenco cf treatmont are quite peculiar and vary for each mode. It ia this ancient Lydian, Why it was elassed as melsucholy by the Grepku "

of eren a aingle mode with the F sharp! Tho Locrian aud Lydian 2that we are going to analyso ind our 72 great seances. can't understand, but with us as with the modiaval, mueicians, whv

inndes were rejected, agom ago, as barborqus! I don's Boo why wo MAD. Moroover, supposing we roduoe the numbor of modes, how are callod it, tonus delectabilis letus, jubilans it nas alwaya beeh eaprys-

should suppon yours will lie better ? It con't bat be wasto lof time wo to classify tho numeroue melody-monlda durived from wach of sire bf tho foy, content, happiness amdl prosparits of the choivqy-

theeo parent modes ?. Thoy havo their own idiosyncracios.17: of God's gifts to man, vis., KALYANAM of lawtul wedlock, nud enorgy! Man. It is simidy berauin fou investigutora of the West have wover JATA It Would be idlo to nttempt nny simplifloation in o matter of made it'a halint te wive deep underovath the ,surfoco, in anything this kind ; it is cortain to becomo infnitely more complicated than 1 1 1

coupocled with ofiental rescarches! Our crafty. men show you junt the outside rind; You are Juped, htungining you have got at the it ia at presont.

msrrow and go awsy quite astisfed that we aro orangoutangal Vind Bet fire to the wholo bay-stack, and whistlo freety as I dol That

Gin. That's furt the pointI whorn wn see tho olngeat connoction and is my humble advice. I don't care for MELAS or RAGAS, but I sing! Follow mel Ducdamtl Ducdame ! and give up this d-d Acadame! (1) (ili) ()() Lbe grostest t lornuny, you always fiod yuur miud w tabula rasa LAE.E. And my udrice too, in right good osrncot if

201 V. hat I liko boat is bur JHALA VARALL Gr DHÂL VARĂLI, MAD. The Reat, No. 1, is called KANAKANGI or KANAKAMDARI, L GAN. Ho mach tho belter, I my ; it will mako onr ovstai lack all el (Ia+lll b) corresponding to No. 3 among the uist 3G miodus. } 11 =6 moro grnudiose and grandiloquous. 1 11 =G VIDU. Grey-huired and grand-mothorly woot for an now add : alias at uvory other word, like my garralous grinny. Mrw. Grundy 1 I (b) GAN. But doou VENKATAMAKHI'S now nomeuclaturo emhedy ou glort III (b) (i) (ii) (iii) (vi) (i) (ii) (iii) ous KATAPAYĀDI SANGYA? (vi) (ii) () BA RA DA MA PA DHA NA BA MAD. Yos, it doos, and it is curious to compare the two arts of namr, I (a) DIA NU SA PIA. What ia this KATAPA ngain ? Tho last, Nn. 72, is callod RASIKAPRIYA or RASAMANJAHI. VIDU. This KATAPA willbring on youtho wor.diyp of Cuddapnh feves luis one of our mont saored treogures and our GURUS alwaye avoid .1 MAD. It is an ingenious dovice which enublea us to fiud oul by tho inifi tenching any junes in it to thoir discipies, Lecause the invariable result =6 syllaulen of tho names, the numbera of the muites. For, it i _VI (6) Les by gzperieuco bocn found Lo- be tho immedinto scpnration of means of theso numbers that wn identify the VIKRITI BIED (L, tho whurps und dats or key -wignalaren) apportaluing to m a.Wu hate ondlons Iegondary Joro of tuis kind connectod with mudu or miolody-mould. onper RÃGAS, taro kentlomoutuho Ond sio intrust, ia tho (iv) (v)(vi) (iv) (v) (vi) BARG. Yen| I wan nuxious to learn how to idenlify the modea by W PA DILV NU olourRAGAG, you ell oryhitey. thuing our a Beender t Hinmnbors but could nover got at it. Obel plense esplaly it. .VI (a)

Ie Hory well: we phull tnee alwit that in due couruo. Tho mode Vior .. By Jovo, tho bare sight of them chills my blood to frocaing point ! VAIN. We have In our Bauskrit alplubot tivo suparato group idt trtges ppiticwarly like in No 50, SHANMUKHAPRIYA or CHANAKA, LAK. My Ulood bas atood at freczing poiut, all along this todious distinguished os hoh coreepon is te No. 20 the Eolian Minor, in the lower sot. walk leading to your d-d NANDAVANASI At what point of tho The firt ayllaties of th thurmometer it will stand, whon I am within, I hardly know ! but KADINAVA=9 boginning wita K. words joined together make 11 1 the bare iden of tho possibility of seoing the whole lot of you frozon to death, horu ou our woy, sunda ro to rapturgri TADINAVA=9 Ľ. tho general namo for this ele

VAIN. SAll theso you have frozen to doathf but me you have burnt to PADIPANCHA=5 davice ;- KA-TA-PA.YA. II (b) P.

nshes, undor a slow fro. I have boon wondoring and waiting to s0o YÃDYASIITAU=8 Y. N isn nueiber non and atands ! (iD) (iv) (vi) where your cannonading would end, but your stores of gunpowder are Nil ur U. PA DHA NI SA inexhaustible! Where the dovil did you get theso strings of Doublo -IV (a) namos for evory one of our modes ? Every timo I hcard a now name, MAD. Stnrting with thia fundamental pronpl; tvo essign n num Prs, I havo rend of a curiona scalo with F shnrp used in Hungary. "The to ench of tho letters fallingg under each elass ar group as followa great charactoricto of tho Magyar miusie in thu poculiarity of its rhy. I felt a bullet piorcing into thio bottom of mny hoart and, I was

thws end thet of the Gipsy music isthe presence of tarns, embellish. writhing iu agonics! Was it not enough that you should haro blasted mont and gracs botos addod to aud built npou the melody, And mo with your murdorous mutilations of the MANTRAKSHARAS No. KA. TA. PA. YA.

erontanlly becoming a most important feature in it. This latter Why this new tortare, with your NARIS, TOYAS, VELAYALIS and

pecaliarity, together with tho scalo which is characteristic of Inngn- what not? MAD. Dod't bla mo for it! Itis the non of the fainous GOVINDA 1 P Y In pronouncing rinn indsic!"-(I am aure it must apperr in your galaxy)-viz., 14 DIKSIIIT, that gave these names ; ho claims to be the in vontor of the 72 2 KII TH PPH R names na well os in w moes: Lut I um iuclined to boljove that thoy wore far moro uncient () AI and that he merely fttod these nomes into the famous LAKSHANA G 11 ing nud tinnslitora L them, the greatest < GITAS compesed by bim aud into that ingenious and beautiful piece, 4 GII BII RĪGĀNGA RĀGA LAKSHAŅA GĪTĀNUKRAMANIKĀ GĪTA,- and uttention ebould

(ii) (r) (vi) which is un Index in song of the whole of the naues as well ag of 5 ŅĢ N paid to the dota belort the firat wordg in onch of the 72 principal GITAS. the H,&e, as otherwise

"swesle wilh two superhuoas (P)pegnds, or the haruronic (?) mine VaIN. Hfuvo you got,tho wholo of these LAKSHANA GITAS? I Lave 6 CH SI

searched all my life for them, but could never get moro than TI drift of the wholo sche 7 CHH S gitn charp fourth indicato io Asimio origin. The Huugarians cou fwirly pdead tho ungarpossed beanty of their national mneludies ps an a very few, und these only in a mutilnted form! will be lost, and it will

'psea for their exolusire devotiun (ta their munic), which hes, by MAD .. The Dikshi furnily fortunntely got hold of this invaluable troasuro 8 J D II impossible to identily

exeluding foreign influence, been a hiudrance to its progress, and has nud prerorved it. I shall profix theso GITAS to tho 72 disquisitiona, 9 nurher or tho eigna

vndemued (?) it to a long atagoation in thn immature stuge of merd which wenre going D. V. to havo on the 72 JANAKA modesaud thoir 0 N nationai music. Allethoir music has a strongly individoal character 1001 JANYA RAGAS. by mnenns of the nana

Pocullarities both melodic and rhythmic give it the charm of dis- GAN. Oh! it most be so divine.

Linctivo origiuality and ita abropt transitions from deop molancholy VAIN. All tho eume, these iunovations will be the denth of me! VAIN. Theso lottors have heon fitted into the first two ayllables of th

ViDu. The soonor you dieapponr the bottor, I sny, for tho country. nuines most ingoniously, so as to bear good meanings, and we iden 10 wild morrimont, with the unespected modulatinus which Viot. Why do you bother yourselves with any names at all, whero you the numbers by means of thone lottors, taking huwever the ins weotapany them never fuil to pn lnee an emquisito offeet. Tho emiiliahmgata are pure improvieate e, played with oxtreme rapidity ordor of the numbers invariubly 1

aul froudom and the greatest prechion have ao many modea? Is it not enough to idontify them by their

The intervals are said to be j oc oven : (2) numbors, e.g., Mode No. 20, 23, 29, etc? GAN. What a marvellous devico ! how mysti: il and yet how methodi ViDu. This mysticism of yours and monomania for mauufacto tunes. The scale, with the augriented in. MAD. Somebow, thia has not seemod onough for our ancestors! Not

teevnis offers bo difficalties to instrumental unly have they given 72 diferent names for the main modes, but mathomatical puzzles aro worthy only of your puzzlu-ho udodues>

maie, htt is mach loss fasourblu to vocal they have added one for each of the 1001 derivative RAGAS also. huir-splitting hare-Lrainedneas!

To add to this "bothor," the recent discovory of VENKATAMAKHI'S MAD. For oxample, tnko DHIRa SANKARABHARANA, the Euro, hirmopy Syncopation aud the slustening of the fin note of the bar (Iizo ghe Soutch snap ") are eommon." treasures has suddled on us a now sot of numoa for tho 72 main major: DH is 9; Ria 2; but the corresponding number in 29 uot

Whs, tiis soalo fe nothing elso but our No. 57, SIMIENDRA modes, though fortunately the most popular ones havu the samo namo Then you muat not cunfound DIf with III, D or D. or & wi as in onch of these enaca you will got n differont numborf KADH YAMA or SUMADYUTI(IV 111 b), and the entire dencrip. in both ;eg., No. 15, 29, 36, &c., in some only the prufixes vory. PIA. Good, hesvons! Woo! I ery, to the poor Angl .. Saron! Feu ot the Nusic, cap à pie, shows oar own aystum to have beei Itn VAIN. I notice that VENKATAMAKHI'S names are made up of our old Lax. But why |mix up yonr d -d Sanserit with yonr d-d Mush Jons e urigo aad primordial protoryne JANYA RAGAS with new prefxes, e.g., KANAKAMBARI in Mode No. 1, VEGAVAILINI in mode No. 16, RITI GAULA In mode VIOL. And why, in the nanit- of al! tho Muses, take fle inverac order 4 Anether very fsvonrite seale with us iNo 45. SAIVA or No. 20, SEI RAGA in modo No. 22, KEDARACAULA in modo GAN. Our waya nre not your waye, and our Muses not your MInscs No. 28, aud ao forth. It louks as if he meant a deliberato mangling LAx. Isec what theso dunces are driving aul they want to driv

1 of old namos I to the Payul achool to begin my Haunerit alphulnt, de toreol

14 GAN. HTo moreover Boems to have mixed up paront nad derivativo VIDU. Oh I MAD! don't drive mn moro mad with thesn mudap dr molody-moulda indixcriminntely, whioh will nuvor do. But lirst tell 1 feel I nm nlreadly S.ID. anl renting that word in vou inverso order, whnt do 1 see? the heginming ef riernal III (74 us, which of thn two is the more aucient ? VAis. I mast bo the buat nuthority on the subjoct ; throughout my pro- nation ;- 0h! Oh 10h1 Tà thin cry with lưar. (iv) (vi) (i) feaMonal eureer of 70 years, I lorvo novor so much as heard thut thero "U, let me not be mnd, not mnad, sweet Heasen.

RA DILA wore twu different nomenclutures. It is quito clear that tho ono Koop me in temper ; 1 would not he mind" PA that is popularly kuown and uuiversally adoptod must necessarily bo- NAD. Aud what if you heard of the numerle . devieee bed 7 in. Li practico, bad singers take the higher GU confounding this composers, who are niso invarinhly poct;, for interpolating tl .. with mode, No. 51, KAMAVARDHANI or KASIRĀMAKRIYA. tho most anciont aud tho only nuthentio one!

GAN. 1'Ew wuticed that it is chiefly when singing meludies in these PIA. I see Capt. Day givos ouly these popular namos. of our notes as woll as of our MELAS nud RAGAS into the of the words themselves, so as to bear a good mesuing iu thee. mudes witl E whar that our prefesional men roem to bo in MAD. I beg to diuagree whilu interpolating the namea of modes.in the cestacies aad multiply thuir GAMAKAN aud gracca witbout end, 72 LAKSHANA GITAS, VENKATAMAKHI seoms to have adopted (Vide, exnmnples on pages 11 and 12 of the INSTRPCTION the' mnost popular. HAGAS in each modo as the basis. for dis- and passim throughont the compositions,f the Ditshit fatuity' vomrtiuia gliding through entire scalex with aiinezpressiblo churm aud patbos, eg .. PANTUVAILALI and VANALI, not to montion tinguishing the VIKRITI BHEDA8. Some later genius sooms to bavu ViDu. More monstrons madness still ; that is all!

KALYANI oud Ite derivatives JIA:IK, YAMUNA, SARANGA, &e eubstitutod now names, in order to ostablish moro clourly tho QA. Now for applying the mmes to thn nambers, t. c., to G

MAD. isut we mont stop herg, Why shonid ooly some be namod and diatiuction-betweon parust MELAS and dorivative HAGAS. wlnt nunbors or niguntures are toprorented ly tha oaines, wht'r

inot pu? We arg atfllion iqur way to the igrent terrestrial Parodiso, MANU, Then which sball wo retain P call tho famous KATAPAYADI SANGYA inour rocoinlite set te

cucloeieg the 72 NANDAVANAS, ans wo tnuet reacrvn all furtho Lak. Ea say, rejoct both,< Auch as Astronomy, &e. (Vide Indien Antiuery Vol. 21page 5

Inquimitone Fraardiag onch aud erury oue of ghem for full and close GAS. Feay, rotnin both! JAYA. Do us you liko ,but don't quarrol ovor it. AIN. It is vory simplo ; if tho number ia below 37, yom are aure t t

aI camg Tinagiond that tho biel keyn of my ninno would be MAD. In deoling with pach mode moparstol F is notural and that you must sing with MA ; from 37 tu wo shall rccord ovory ruust sing with the F sharp or MI. Now, vach of theso a6 iga ịa such stpngo fastion in this part of the gibbolt nemo and overy versiou in full modos boing diviaiblo iG .& CHARBAS. P ... the Vi(a) and .I Altthe buich arta originated in Andia, und no wonder chnt theso VIDe. Yes, muke yuur mouutanised molo-hills moro moustrons stilll the nignntures in whh a aro it atied, all you have to du ia tof tlck roh.teyt linve'a peculiar faseinntion for fhose bluck keya! MAD. Que Terai-je d What ia worth doing is worth doing woll and I oan bourt what VIKRITE BUEHStr sherps ant nats) cach Cir KR e Ll w wiud op. lut me juat seo in etutf ubtation, the first umit notbiag in my: "rocording sister's pago" of what has boon ropresonta; vi :. , J. HA, GA - ; 1I. NLA, G1- : 111. RA, GU :

ane) tesvet yanh sondorful scheme of-2 rodeu. nlready sccomplished by the groat mastorg of cur schools! Suroly there can bo no harm in liaving two namcs dor cach of our inodes! LAx. It is all Greck t. prasl VIDU. Then put i- c'eerer io ebrew !

15

to. In tegi again TI hava ahowa you how to ntrits at the seriald: Vrop.Welt then, it follows thatgyour double set of names for fhe 72 SFAD. Kuowing the sigpatnres, all yon have to do is do deduet frou ti ruodca must havn sprung op only within tho inst fuw gonturios tetg numberof the modo, the nearest UHAKRA, ne.the bigbest multipe if il in MaYs, ou hud from the namoriou-lphahotleal tabl Ian. Not at all, but be that na it muy, Iymaintain that bio mođen thome of oi and tako the diprenco lor tho upper tetinchord ded givon Mode given abovo .thue M=s and Yerlsephiah whon put together, retre, aelves wore Inr moro anciont ond fourish hinknowm for ogen, in No. 25 deduet IV x0=24) differencu I; Uus gires r(b). For th gites Na. 16; for, ns the lato lamonted Dr. A. C. Baruell oxplaing anbterranean vanlte, quito Indopandentiy of tho nedien! a et Plower totrachord, tako tho CHAKRA following.ibeonrest, or infis South Indtinn Palmography (page Bo), "The order of the inttera PiA. Why not arrive at the opposite conclusion, and say chat the whole highust multiplier of 6, e.g., in the nhove ense, intfoad of IV ts:" is frum right to lefs: in duuble lettere, the lne pronounded cousonant of your preaent fabric is a superstructuro of some recent date, bulit V (a), so that you have; - No, 25 -V () + I(b) thaa; only coants und von havo no valuo. Thas. No. Deduct ( BadNaTi auNnM SaSarl" upon the few primeral modes, known to the anciont Groeka? M4D. That Would indeed bo n very high compliment to our modern Diforence Then the in: lo is | With yaryiug 1ot0 (VishNu 1306 17750003. 067711 ingenuity, profundity and originality ! .For whilo you, musicians of 26. IV×6=24 the Went, hayo boen domolishing overything good in Melody for the Y (a)+ I(4) RI, GU, DIA, N. The pecaliarity of this system is that it allo. Jateg to bo cr- s. II; pressed he words with a connected meaning." and pouts, who wish to tdro of Hnrmony, we must have been olubornting our Melodio aystem IXG= G;

disguise dates, &e., find convenient sopulohres for them in their woll- to a stendard of the very highest porfection, so as to includo overy 17 .- TIX6=12 measured verse, which caoceals a hundrert other shrowd artilices. form and formuln, diodern and anciont, European and Aaintio15 II; Lax. Beahrew your shrowd artifces, I say ! VIDe. Whats perfection, profundity, originality, among moderns, Vx6=30 VI (8)+II (b): RU, GU, DHA, N1. MAD. Judged by the ahve rale, some of your old popnlar namea turn herd in Indial Aht Ah! Ahl 'Tis all tho other way, my dear sir, 0x6m 0 'tis all the other wayl in the direction of the setting Occident, not V I (4V (b)) BA GA, DHUI, NU. out to be wrong; for, in the following cases of conjunct consontuits, the letfers airst pronoune d aro adopted instead of the second ;- of the dawning Oriont i We think nnd drink, dress nnd mess, walk nnd VIDU. By Jovel what has all this to do with goggling ? Surely tnyboly talk, danco and prance according to the pukka Europona modern can gurgheugle liko a Gargantua, without guzzling all this i atyle, not according to the aboient Indian faalion! Tia, Prociaoly ! it is our Weatern methods of eduention that must havo MAD. For tho lat 30 moden, Bret dedart 36 from the nomborof tho taught you the modus opcrandi, ns is saggeeted by tho eettlument of modeand then proccod as in the caso of the fret 36 modos ; s. g., tsk To- Va vegavabini No. 05, deduet 36, differenco 29 ; dednct I x 621 differ- nee. Vtkes 16 tho Portuguese in Nogapatam in 1612, aumerous Dnninh and other Miasionary bodios working in Trangucbar and other placcs in tho the mode is V (a)+V (b), ic., tho ordinnry ma for scale w ith I sherp. Di-VYa-muchi., Ji-Vanti ditrict,-not to spenk of the prosence of a BESCIII in Chanda Sahil' LAX. I mast odmit, that all this is highly creditubio to your mathemati. Vi-ŞVa-mbuari ... லிஸ்வ Va-mSa-vati court (1736,-1710), a SCHWARTZ in tho palnce of Tulinji and cal and mystieal if not to your amnsieul talentsl ied 54 Sarabhijs (1700-1790), &o. Pis. But do yon mean to say that all your 72 modds 55 ஸ்யாம MAD. Even then, the utilishtion of this dovice for our Musio, would h all yoor ஸிம்ஹே Sn-Ma-dynti redound Nery much to /bur tredit: but it so happens that there sharps and fats, have boon used by yonr inusiolane dbyama. is hot a single musician, really worth the name, now living in S. Indin MAD. One of the moat illaucrions membors of therwdr thenTkeHrr fomily bas Ciln-Tu-rangini com posed RAGAMALIKA in the 72 modes ming VENKATA- GO (180G) who ktowsa ward of English of any other foroign languago T 5 aCng J6.Ti-ragn MAKHI'S names. Tho great MAHAVAIDHY ANADALYA of Tenjore eS JYo-Ti-svarupiņi upon carth-much less eo must it have been in agcs gono by 1 19. PIA.But these Enropenn Scholars wero profonnd masters of all yoor (ob. 1S04) has composed another RAGAMALIKA, waae the other 72 Gas. Goot henvehs! whit a ourioun wlecism 1 I soc VENKATAMAXILI Vornsoularg-in fact, oven better Pandits than tho best of your literati! naraa in popular use. Theso will appear in due course nong with avoids conjunct eeisuuants, as much as possiblo, but whero thoy MAD. Thon why did they not communicate to thoir brother scholara in the melodies illustrating the discussions in our 72 Seontes. Burope, what they leaent or taught hore, in regard to our musio ? GAX. To my thinking, the British Musoum must bo nothing whea octur, his nomenctaturn clsely follows the Sanscrit made uf writing, JAYA Let me rumhind you, we are doaling with Musio, not Archwology. compared to theae collections of oldl curiosity-thop waros, ro that, ns Dr. Barnell riglaly pnt'it, the last pronouneed conaunnnt VIDD. Aro they Ilving zoological collections or fomDized o noths ? is always written lusl, and counts as a number .- MANIE . So it is in Tan il; Vial. Nn ie written Das in Telugu, Lut eloaeer Gay Procced now with yout explanations, as to bow we shonld find out GAN. They havo lived and shono in their full splondo e for ages, liko the VIKRITI BREDAS or Key-hignatures from the serial numbers. the moet distont stars in the firmamont y it is not thoir fanlt that in Tamil, the Bequenco ef, letters following tho right Sansorit ordor. MAD. Yon'vn seon that the 36 modes of, cach group are mado np of VI on thoir rays did not reach you, or that your optical instramenta conld not VaIs, Your barbarous Tatuil is not the langungo of Music; but toll mo CHAKRAS, I a) to VI (a) in the Lower, tetrachord, and I (b) to VI(8) reach them, for so many ages and nges; but thifre, they Jivo & shinol bonestly. which is the principal letter? I hold it to be the firet with in the Upper tetrachord, which are ozactly aliko. You must PIA. To confcss the trath, 1 am quito as dependent as Lak on the which the vowel-inarla aru blended, ns in Telugu ; the other first find out whut Ley-signafures or VIKRITI BHEDAS are repre Musicians in the Moon for olucidatjon as to what musteal effect yoar consonants are mere adfjunets and being written underncath are double fiats and ertrome sharps can posaibly produce ? justly 'neglected; at an- rate they caonot be given any numcrical eonted by these combinations. As DHA, DHI, DBU, are situated eroctly liko RA, RI, RU,-and NA,NI, NU liko GA, GI, GU,-you VIDE. I khow it is Nil, which is Nai in our Hindrand De in your Eng. signifcance, according to our orthodox orthography. And Nought (O) in their nonsensi arpc moed Man. Yodr ortbudos arthugraphy orrs irrelriovubly in the fotlowing may for grostory simplicity, omit the initial consonants and bear eric nomenclature! in mind that the position of notes in the Piano is os follows :- For their NA-NI-NU-NO is n Nict hene by 'a Noody-mi-nondi, Inalances, where, by another eolooism hecording to your theory, tho And thoir narrow-knit network of namos and of nnrbors nwrabersitaothing serond consonants ur mabjolned adjuncte count, inetead of the Arrt, For tho Second (R) and Sirth (DH) ) For the Third (G) nnd Sorenth (N) But tho neighing of nags in tho nooks of tho Honphnennin, with which the vowalgaro blonded -; A Iymning in Hebrew non-hormonions Noos thrune Bortleand noso !-- ('To JAYA) You snarl us if you 'd Enoce me down; b ( ! ரத்கு PPHON&dyuti brag brawl and bray, always within bractets, you kuow1 CHi-Ys-vati MAD. You can have no idea of the avshctic effegts of tho nomerce, lone. STo-Vva-raja so that combining only these varisble notes, you get the following medulations possible within tho liuls of a totrachord and hoteinles formuls, which is applicable to botE totrachorda equally :- tho triumph of our systom over that of evety other nation in thio தர்ம DER-Mo-FaLi This, if well imprintod on the memory, will casily world. Just look at tho derterity with which sdine of our.ron! CHAKEA 2nd & 3rd & masters hnve handlod the seales, cronting entirely now worlds of -6th. 7th. help yon to identify the koy-sigoatures ; c.g., JAYA This leads to u very imporinnt and iuterusting discovery, which VI (a)+IV (L)=RU, GU, DHI, NI magie beauty & unenrthly pothos ; c.g., tako tho BODR ) KAIVATI" in modo No. 31, (IV a+I b) with tho D sharp and A Ct, anden donble Chrows some light on tho origin of the twe sets of namen. Tho 1= A; III (a)+VI (b)=RA, GU; DHU, NƯ flat, ond henr it sung and playtu aa it ougbt to bo.Yon wiil fuel popular one inllows the agglutintivo principle of tho Telugu alphabet A, I: V.(a)+II (b)=RI, QU ; DHA, NI; and is evidenity of pare Dravidian descent. U: I (a)+VI (b)=RA, GA ; DHU, NU; ourself transported to tho land of the Gnomes and he-Bylphs .! Sfzatoso Vux. 1 then fom jay, nur ald namues ar the mont ahcient; and havo IV IV (a)+ I (U)=RI, GI , DHA, NA; simply been mamgled by gour murderer of the MANTRAKSHARAS! GAN. But smong the several alphabeta, which is tho most ancient,-the I, and this will apply oqnally well to both groups of 36 modea, as tho Fourth, which is the only distin- Dravioan or the DEVANAGIRI U; gnishing characteristio, does not como in st all. LAx. All thesc attempts at simplifcation make this more and moro KA-LA-VA TI 'Pia. In e note on page (xvi) of the Preface to his Sunserit Dictionary, Sir Monier Moniur Williumns ehys "Mr. Edward Thomas nppears to muddled, at least to my muddy-hended brainBl have goed grounds for thinking that maty of the Nugari lotters woro GAN, Stuff and bonsonsel Youscarry your pretenco too far! I foel derived from the Dravidians of the Sontl," and rucent researclies these to bn splondid helps to the memory ! baro establisned the fact that the goldon age of Dravidian litoraturo MAD. The W CHAKRAS may also be identified by six stook nnmes, vir. yu - va - 1 Kal-y5,. nam Ka . la was anterier to the Augustan ors of the Romnau! npplying the name of a well known RAGA to the VIKRITI BHEDAS PIA. What a chimerichl cumbination of notes and waat inefluile Vais. This woull tend to prove that our populur nomenclaturo is ot all in oach CIIAKRtA, using the game name for both trtrachords, thns; inintuation nbout the effect of the song ! dreota the more authentie, oven if not absolutely correct! GAN. Well,if you don't like these combinations, leate us sloac to cujo JAYA. We ncod not diacams this hare; it is onough for our purposes Namee, of typical RAGAS | Terminal Vowels o! varying notca Koy-signhtures them! Yon have got all that you agiprore, love and ndmire, in our com- that both sota of- nomes inelude the KATAPAYADI SANGNA, to be applied to W he aix CHAKRAS bizations Nos. 20, 21, 23, 29, de., in all of which wo hayp aplone Vior. It is certainly a most extrsordiuary atylo of enumeration; as a holp to the mordory. L 2nd and, 3rrand 2nd aod 3rd and raclodica of a most dolicionn charncter. uth 7th. and it ia vory creditable that your municiane shonld have utilised 7tb. VioL, Galinatias ! it for their complicated syrtem of muder But is it nnivorsally I. KANAKAMBARI; A, bb LAE. The erew thinketh her own birdl tho fairest , 'tisther goldun myry! rocognised, and how long has it been in vog iu? Nab. Dr Buruell given you the answer (ibid); which of course puts it I. TODI VIDU. Asiaususino, sus sui pulcher, wo eny, in bur own vylgar tongue! GAN. Beforo wo cluse this sulject, let mo kngw where I can Cibd it nuet unfavourably ;- "This ratemn wae in pan in the lifteonth centary Lut mpparently not long before then. It is wow much used for III. ,MĀĻAVA GAUĻA; A, tho 72 modes packed closu together, asen & bird! ogo-viuwl remombering rulos to calcuinto horescopes and for astronomical IV. SRĪRĀGA I; names, numbers, key signatures and all, fdr ready ratorende .? tablca. Its resemliance to tho Nutaitie chronugraphe is comploto." MAD. I'll now show yon thie now bock, ORIENTAL SUSIO" which VIDC. I thought I lavl rmaahed oll the Somitien in thoir smutiy cemo. V. SANKARABHARANA containa overything, us it wero in a nutshell, rudtum ih parin Turv terice, celinrien nga l but hern thoy aro with their chronographa!1! VI. NĀTA. to pago 10 of its Introduction and you'leend te whrt yot want ;- the whole of the 72 modes in onbiPor" rester PiA. Now that . have heen talling of Archusdogy nud Pahogrpahy, convenionee, Ishall now add VENK.TAMAKEP Snamds, tide by aido let us try and inl yut the cract date of your 72-dome architecturo. Ro that ench combinntion of (a) and (b) will incan a coupling of two Can you tell an pffurimately af what period your nowly discovored RÅGAS, one nbove for tho upper tetrachord, and one below for the with tho nsual nomenclaturo; tle nexb onres these now namos FENKATAMAKUIT S? wero not known at the time tho. Introdecho hto thab work Wnd lowor totrachord, thus :-- II (a)+III (b) will mean TODI holow MALAVA GAUĻA nbovo. completed, vis., 24-5-93 .. The abbrevintionEA. aT det MAn. The Tmnjere Dutriet Manual (paye 257) would ecom to ;ive the cro of bis fath c Gol INUA IERHIT, the famoun Minister to tho NAYAK VI(n)-IV (b) alao likowise conocalod by the DIXSHIT faruily. eere hit oin RAJAH, VIJAYA RATUAVA as botween 1050-1050, of tho Christian NĀTA +ȘRIRĀGA. III (B)+ V(b) GAULA ,+BANKARABEARANA ronly by a nurmiso from tho opning ayllableg in ceoh of the firat eir Gin. Oh I thin is dolightful Now for npplying theso siguatures to the AVARTAS in the two LAKSHANA GITABBAVIKUTHit Meto ora. The Tarjare Durbar wes the errlle snil neruo. of tho parcet No. 15, and HIPUBALA in Mode No. 80, 50 poya 10 a Iof thp natbers of the modes! it murt bo nosior atilll Elementary Esereue Hook a: the end of tbo n0 dHes f.t5at me

16 T Pesatien of notes on the P'iano

Oh' I longto sos.your Camrra Lucidu, giving a bir's-oye.view of the whale of the 72 modes, with thoir double sets qf KATAPAYADI Upper Tetrachord I (6) tof GAN. inbore, their CHAKEA POuEsa names, thoir sorial Duinhere, the KRA group-formations, their distinguiahing kny signatures, the tono-intorvals betweon evory two uutes aud other peculiarities, in auch a ludid form th id form that thoy can all bo takon in at ono glanco. MAD. Whnt will you givo mo for itF Not all the woalsh of your gorgoous Ind, nor oll tho nri foritHoHoatho aitocratic tifles you lovo to dove-tnil ot tha head and tail uf your unnica will aufico to rouluneraio mvmeneKATAPAY\DI tablo fur rendy toferonce. Ly takingt in succespion naines nre entered firat, and the populnr ones noxt, I ropent aluo tho K Pit tako it nnd onjoy it. VENKATAMAKHPS onch of the sis Lower Totrachords ou tho left and combining it with tho six Uppor Tetrachorda on tho tup, you get tho F untural. Fimilarly by combining; thono ou tho right with tho anmo six on the top you got the last 30 inclen with F shurp. you get tho first 30 modos, with

THE 72.MELAKARTAS, RAGANGA RAGAS OR PARENT MODES. NI

PURVANGA UTTARANG A or UPPER Tetrachords common to both groups of 36 Modes, PŪRVĀNG II. (b III. (b) IV. (b) V. (b) VI. (b)

Tones i 1 =- 2 Tonea 1 Toneg 1 Tonen 1 1 . 1=2M,Tonox 11 성 LOWER l Tones 1=3 1=21 -Tetrachords LOWER Totrach belonging tor (1) G1 (v) r (v1) (i) d (iji)I (iv) (vi) (i). (ilf) (v) (vi) belonging to Mocte Nos IA DHA NA SA DHA NI BA PA DHA NU SA PA DHI NI BA PA DHI NU BA PA DHU NU SA Modes, Nos. 37 to s2 (F Natnral,) WITH (F Sharp

onoat (Kn Na kambar 1.3 PPHtF Na dyuti SMa No runjani (Tn Nı kiriti Ka Nh kangi Ba tNã ngi 3.2 Ga Na samnvarali (BHa Nu muti SA RA GA MI GS No murti Va Na npati Mã Na vati Tà Na nipi

(i)- (l) (ii) RA GA-XA Ja Ga nmohang 37. Sau Gan dhini Sã Le ga 139. DHA Li Varali No BHố maại JHa La Varali 40. Na.Va nita 41. Kum Bli ni 42. Ra Vi kriya Pa Va ni Ru Gliu priya Tonca i

Tooc Số Nã graại SJa Na Toi DHIu Ni bhínna- Ko Ki larata Ra I'a vnti RA GI NI số Nã vati 8. Ha Nu ma Todi 9. shadja DHế Nu ko 10. Na Ti bharags Nã Ta kapriya Kô Ki Iagiya S 12. Hã Pa vati (ii) (1v)

RA GI M Dia Và n BHa Va priya 45. Sui Va Panta. STav Va raja

8u BUa 48. SJI Vn, nti Ga Văm bhodhi $7. Sau Vi ra 40.5 SHad Vi dho margini Su Vo rângi Di Vyn mani Tones :

ToRes, (GYa hcjnjji Va Ti Vasanta. MAYA bhaimvi To Ya Vegavahini OiiHa Ya vatt Jn Ya Suddhama-) RA GU 13.3 GáYa kapriya 16MIIALAVA 16. 17. Invi Va na labharans GAULA CUn Kra vaka Sir Ya kauta

RA.GU NA DHn Vo langn Ku Si ramakriyn Ra Ma mauohari Ra Ma priya Gn 3in kakriva Vum En Vnti Blla Va lianbari Na Ma uhryani Ka Ma vardhani 63. Ga Miu nasranan 54. Vi Sva mbylari Tones i

10 (Jan Ka roura- mari 20. Na Ri Ritigaula (Ki Ra navali (SRI Ra ga Gau Ri Velavali Vi la Vasauta BA RI GI

Na Tln Bhairavi 21. 8 Ki Ha vni KHu Ra harapriya 23 Gau Ri Manohari 24. Va Lu napriyu

SARI GI MA Sa Ma la CHa Mu ra Su Ma dyuti 56. 57. 7.5 Si Mhendra De Si Simharava 7 DH& Ma vati Ni SIIn dha Sya Ma langi SHan Mu khapri- y'a, ) 58.33 madhyama) Ho Ma vati Dlinr Ma vati Ni Ti tanti Tonea 1

Tonea J Th lan gini 27. Sau Ra senp SHa Ri Kodari- (DEs Ra Sanknra- SA RI GU 25. (Ma Ba ranjani Cia Ru koại Sa Ra sangi 28. gsula 30 Na Ga bharana Ha Ri Kimbboji unrana a Sunkara. bbarana. Na Gã nandini

(i) (ii) (v) (vi RI GU Y. Kun Ta le Ha Ti priya 62. G! Ta priya San Te Kalyani Ri SIIn bhapriya BHa SHa vati Cla Tu rangiai KAu TÂ mani 03. L& Tângi 64. Mo CHa Kalyani S 65. 60. Chi Trambari Toney 1 21 Ko Là vati 33. CHa Là Nata 31. Bito Ga Chayana- Sai La dogakshi SA RU GU

Ya Ga priyn 32. (nà Ga chapamuại Gap Ça tarangipi Ita Ga vardhaui Gan Giyabbu. Va Ga dhigvari 35, Şã Li ni 36.

shnn H (i) (v) (F), (vi) fiv)

RU GU NA (San Ta,namnnjari ) (Jõ Ti răgo 69. DlIon Ta pancha- Na Sã mani Ku So makaro Ra Sn manjnri Su CHa ritra Jyo Tisvarūpini DHn Tu vardhuni Na Si ka Lhushani S 71. Ko Sa la 72. In Si knpriyn Tones 4

Combinations with identical signatures in buth Fetrachords. Talismanic virtues of Nu. 15. Combinations with varying signatures in the lwo Tetrachords, Among thee, orly : I(a),+ I(b) is No. 1, the Alpha or Aleph of tn wholo schem, aud the great Elephas 15 15 16 15 15 following have reuched the Kuropeun worli, slowiy and by degrecs, Jndicus,-aus gencris-found no whero olso in the globo. II (a) + II (L) is No. $. S tho Greek Phrygian modo, the Authentus Deuterus of the Am- 16 4 16 No. 21, Leing the latest of all. Lrosian period, and the incomparably delicious Indin .< x> ILI (a) + III (b) is No. 16, the mymic, magie, mesmerle, Indiau mode MAYA MALAVA 16 3 5 7 GAULA, as thaumet urgio as ita Talismenic No. 15. 15 (tho (Trook ond mediesal Eslian mode usei in min 15 6 15 IV (a) + II (b) is No. 20, Munic in the rlrbitihes Miuer, only for desvend with Indian No. 23 fur necending. IV (a) + IV (b)is No. 22, the Greek Dorian mode, the Authentus Primus of the Ambro. sian period, aud the first of the " Six principal modss of tho 15, 15 IV (n) + III (b) is No. 21, tho the modorn Harmowic Minur mode, 'the Iat. tand s Hiudes" in Norshern Indin, classed ns I. SRI RAGA. es in orsherh ihoih, ciassco 15 15 16 (b) is Nio. 2D, tha Groak Jonian mode; il modo lascivo of the middlo rn ats upper balf liko No 15 Wi the Indinn SANKARABIARANA, the Europeau MAJOE. IV (a) + V (b) is No. 23, the modern Melodic Mior mode with its apper liko the Major, amt nsed onty in the arbitrury M V (b) is No. do. the lireek Lydian mode, the Amorogian Authentus Tritus and e fubilant Indinn KALYANI (oF e modo for ascendinng, witk Nicg for deseending. P tho Omege of tho firut set uf 30 Indian mudes, called NATA V (a)+ IV (b) is No. 28, tetrandua aud thn Augeliat HARI KAMBIW which is the firet usnally sung at overy onpcert. tho Omega of the wholo sot of 28 Indinn modes, and full of the Dravidinn xystem. t R4SA or qusto ao both its names imply. IV (a)1+ III (0) is No. 57, 7 the Magyar mode of the Hungnriana, with correeponding to the Iunian SUMADYCTI

No. of Letlers. 1 3 4 7 8 9 o Not used,

KADCAVA 9 from K K KH GE NG CH CHH J JH GN

TALINAVA 4.9 from I ST TH DH D DH

PADIPANCHA 5 from I SP PPH B ...

YADYASETAL 8 from Y R V SH S H

(17.)

FiA Tiis iciat syaopea uf tte whole ecbeme is really very neelal and Pu. 1 sharp makes G the Tonic; 2 sharps mako D the Tonic MANG I'I try ; No. 16=III (a) + iV (b) has two faou D and B interiatiag. (I see it "Ula 3 quarto pagen in Capt. Day'a book, withont 3 sharps, make A E 16=III (a) + 111 (b) Any indication of the KATAPAYADI SANGSAS t anlD E 4 sharps Vior You will observo that overy,additional sharp movca tho Tonio ,. 36=VI (n) 4 VI (b) has 2 aharps on D and A GAN: Bat just look at the ortraordinary mosaic work in the bordors on a fifth higher (ie., by 3} tones). In like manner, (36+3G) tbo title-page, tho whole of whioh, I seo, is mado up of signs and I'fat makos F the Tonic; 2 fiata mnko B flat, the Todio =72 [in tho last 0O modes " Do . a sharps on D, F and 3

symbols naod in staff notation. I'll try and reprodaco it hore, (p. 16.) 3fata make E Bat 4 fate A flat, MAD. The more ohimerical medleys of sharps and flats aro obiuin ! MaD. Bravo i you have slightly improved upon tho dosign, I noo t Pi. Ilero overy auccossive, addition of a flat moves the Tonid & by combining I to IV with VI. in both the tetrachords, fncluding GaN But I'in eorry to say, I dou't -quite noderatand the meaning of the fourth higher (i. c., by 2} tones).The main renson for this alteration the P ehnrp in the laat 86 modos. The objoct of, this MELA MALA

combiaatiutof then notrs without stems in the 4 corners! of the Tonie is thnt, though the acale is thus shifted from place to on the title-pnge of " Oriental Mnsic" was to bring out promicently, and clere together in one view, all theze extraordinary combinatign. Vion I uce the : clpfs G aud F are knit togethor, andd whether you read place, the intorvala botween the notea remain oxactly tho same .. Viot. For facilily in reading tho musio written in different olefs, we of flate and sharps occmcrieg in uufamiliar sitpotlong so as to start! (oLe way or the other, the poptiou uf notes coinciden with thoappro. tho Europoan eyo aud pr .Ike a deep and sonrching oramination piate clefs ;- tho Buss tlave being transfurmod into the Treble. Eillow the simplo hint, that tho last sharp to tho right is invariably into tho system, which, weit woted, is mado op sololy of the 1 LAE. Anuthier topay-turvy busiresa, I Geol lhe Lending note (soventh) and that the lost flat to the right is semitones, witaoNs sny Quurier I mrs or mine. interyals st'ail. Pia. And the notes themaclees form pretty good accords in contrary ulways tho Subdoriinnnt (fourth;)-never mind how many sharps or PIA. You soom to admit overy ulwle ntid shadow of tonc-modalatio motion, major and minor being intermirod cariously onoegh! fats there may bo in the key-siguaturos. poseiblo. I wonder why the Locnan mods rejocted by mediers GAs. Why are the aumbers in tho iaiddle 1, 2, 3, 4, arranged in two. MAD. Thin hint becomes inapplienblo to Indian Musio, written in staff musicians should not frud any piace in fonr schome different waye ? la there any special mearing attached to thoui notation, na the Tonie fomains unaltered throughout the 72 modes- MAD. It cannot find a place in our scheme becaose this seale, which MAD. The one to the left is the Oriental niethod of Conducting, v.c. whilo all the sharps and fiats come within the grbove of its ASHTAKA has the SI contra FA, wontltu the samo as oar No. 8. (Phrygh) beating Common titae, that to the rignt is the Europenn muthod, (vide or octavo. It is therefore proferable to writo our Musio invariabiy Il (a) and I1 (b), bat, as I saldl before, with e dimlnished atth explanatioas at the foot uf pago 27, of the Introdnctien to that book). n tho uatural key, so that the Tonio may remnin rivelted to the Quinta falsa, whereas uar Dominant, PANCHAMA, honh invaria! Vint. Anl what on earth is the I at the commencement? we have no Ledger line botwecu tho Upper and Lower stavca. be as immutzble and invalnerable as the SHADJA or Towic. such time-mcasuremen!,pue aven typca for it in our mcsio foundrien ! PiA. Then, why not insort yonr eharpnand flats in tho body of your Locrin mode vrittes vithour shirpe or Aats. Min. Tho yore the pity 1 The seton principd notes in the aenlo (Septmea melody itsolf, without [intorfering with the Eurorean signification 1 r SATE C aru put togother hero, one affer another ns in eo of koy-siguntures ? Thia ehouldbe loft absolutely iutact. mnay bt ven nutes cach. MAD. It wonlI nut only bo unsightly, bnt destroy the nll-iuportant idea VAIN. This yselati of our mest favourito time-mensurementa, in which (which key-signntnres at the commencemont of a stavo are intended the bulk of m RSHANA GITAS aro conitmised. It is callel to convoy), that tho eharps aud flats aro inlisront to and insoparablo SI contra PA cu diabolus in Musica TRIPUTA and is munde up of 3+2+2-7 unita to tho bar. from tho modo itsolf; if printod fu the body of tho molody, thuy would look like accidentala and convey quite & wrong iujpressiou of tho Locrian mude transpased to the key of O5 Nan. Itmss have beeu mnrked ar ihich is another of pur very Invourito rhyDrits, called MIBRA JATT CHAPU, in which very quintrsaonce of the system as woll as of the music itsell. MANGALA asug Ler pivee (page 3 supru) Is prooeeds by threos and GAN. Saroly the sythbolisation ndoptod ropresents tho idoa to bo fours which is ropregented by the wyllal'es TA.KI-TA TA-XA-TI-FA conveyed very graplucally, without in the lenst Here the whole of the 7 unita in a bar aro counted as one, for fncility mizropresenting or iaterfering wits the Europeau f messurement. This is the most common of all onr rhythmua. signification ; e.g., the chord within parentheacs in SA RA GI MA DEA N Las. This title-page is au ehl-eurisity shop, by itsolf. the margin khows that the 2 far do not uako B

Gas. Well worth a careful examinition. bemol the keynote as in European music, but brings out most clearly Pis. I seu you loavo the oth blank, withont any name the one great peculiarity of Indian Music, vir., thal the C, G, c. aro in- MAD. Bocnuse it is falso, and ean nerer be flat, EsTavo already ma MANIK. Just look nt all thene benutifui decoratione in the middle of the varinhly tho Touic, Dontiuant and Octavo in each and every mode and Bo often ; it is no noto nt nil, so that 1 hare no name to give it. intorwuven staves, the dages, the coils, the crosses, tho flower-vases, &c. melody-mould, quite independently of the position, whiob the seroral LAE. : Why not call it PI or PO, or PUP VIDg. If I were made ozatiner of Music in the London Univeraity, I sharpe and fleta take on the stave when ropresontod by staft noletion VAIM. Falle into convuleions and pirozyams. (Tablos vivanE) would teat the cundidates' proliciency in staff notntion symbola hy defying them to unriddle the varioun conundrame stored together horu. MAD. At the spmo time you see clearly what notes are to bo playdas If we can ndifit ths Quinta falsa as A mente ocferedhr ratinti

Gax. But look st the lovely garland of moiles in tho form of a nocklaco gharp or fat turni chout, the porformnancer nocurding to. tho nsual in-mode-manufacture, wre can crento another 72 modes By gubetituo:

(MEL.A MALA I woull call it), in tho contro of this title-page. practico of playing from moalo written iu this notation. G flatfor G natural ha in the caso of Fisbarp for F notural. But i fa quite out of tho quostion .. Vinu. We have a lovely " Self-adulation Club" and & still lovelicr Pix. Vory well, lot it stand. But how can there ho only ssinglo flat on LAE. Why tot do so plense ? Then, na I said belore, you can also hn "Mutual Admirstion Socity" "hero! Uan. and Mad .- gone-mad,-of E, D, or A, and only a' singe sharp on D,"Ai &o? 2 moro wety of 72 with C flat an.1 C sharp P me another, -- lw aro you twa mutually rolated pleaso ? MAD. I am sick of theso ropoti:ions-let us got on The simple r.or LAK. JANYA and JANAKA, I suppare,-gonerating aud gonerated ! is you must leave our SItUTE notes abeolutely tatach or na we 8 l'ia., But how on carth con there be a ningio fat on the D, E, or A? and what an ecerntric hodge-pedgo of sharpe E F D immutable.' No other comhinutions are poneible or admigarble. V1OL. That they possesa 72 is luul onough,-worto thod the Labyrin and flate, plnecd in all sorta of imposalhio situ. MAD. Jast look at the synopsis of the 72 modes on page 16. According of Crete! Why worry yourself nbout wlint they don possess ? atione, amidat a wuiform sueerzsum of C, G c. to the rules of Staft Notation, notes written on the stavo without VIDG Itstrikes me that yon can very well piay the " Magie Music gom which appear at the bend of cach and overy one any sharps or fluts mean musio in tho natural key, the Diatonic. ma. of the moded, as if swearing, they aro determined not to be shaken ? jor'scale, our DHIRA SANKARABHARANA. Now, thia is found to bo in thia mazy musico.mathemati l muecum, which is a monumen

qur mode No. 20= V (a) + V (b) without any sharps or fats. mienngerie made up of motley remains of mastodops, megusthee MAv. Theso notes, mnoro often pluced ns e chord within parenthesue at ana microsthenes, all multed up in mist, mnst and mystery tho beginuiog of every melody, nlong with tho Well then, No. 28=V (a) + IV (b) has ouly one flat on B manned by misernble madenju, Musomaniac Muses, mummery-mes key aigdaturda, ure intunded to show that, what- „ 17=aLII (a) + D mumblere and mummy-manufacturing mut ever pharps or flats niny be introduced in Iudian „ 23= IV (a) + V (0) E Music, the Tonie & Dominant stand as the immat- . 27= V (a) -!- III (b) - JAYA. What a plaguo thia parenthetical prattlor is L

ahle initial notes of tho 3 tetrnbords, on the lines asd sce marked. .. 35=VI (a) V (b) A sharp on D LAK. There is more matter, meaning snd method inchis fautterings

The pareathesds have been expresaly insorted to uyoid any powsl- „ 30= V (a) + VI (b) meiublings than in the monstnws mass of molodalar mole-h ility of a ox fusion with the European signifieation of key-signatured. VIOL. This ie e curio with a vongennco ! liow then do you get two fluta and muddy mounds which yun havo mngnifed into mighty mounth

Lnh Why, what do they npcially tignity in Earapnan Mumial: all over the lines and spaccs of the stavo l uf modes and melody-moulla, like your immeasurable Mimaluyas!

Fiot. Accoring to our nointion, thn Tonie vorice with each altoratior in VIDU. (Sings.) Music in their Mountnins, Musio in their Mounds

the poaition aud winnber of sharpa and ilats, Whon there is no sharp GAN. I'll try; No. 22=IV (a) + IV (b) has 2 flats on B . aml B Munio in their Mul-heaes, Mudo in their Modep: D or fat on the stave, O ia tho Tonie, and G the Dominant. 1 11 n (a) + V ( „ 21=TV (a) + III (U) Music in their Mole-hills, Musio in their Mouide Music in their Hummien, Mopfe in thelr Mufla F

SCENE VIII. THE DRAVIDIAN SYSTEM ALONE DULY RECOGNISES THE ALL-IMPORTANT DISTINOTION BETWEEN MELAKARTAS, RAGANGA RAGAS OR JANAKA RAGAS, WHICH AR PARENT MODES, FUNDAMENTAL OR PRIMARY SCALES,-AS DISTINGUISHED FROM JANYA RAGAS, WHICH ARE SECONDARY SCALES, OR DERIV/TIVE MELODY-MOULDS. ALL OTHER SYSTEMS, ORIENTAL OR, OCCIDENTAL, ARE SCIENTIFICALLY IMPERFECT AND INACCUNATE.

Pra. How many mountains do you reckon in yonr Hindustani Geography? SAR "BHOG BHAG, CHATTISON RÅG :" says our provorb. Fortuno MAD. In tho fret place, you havo adaltoratod your eyatem by oudless foreign admixtures, Persian, Arabinn, &o., using quarter tones, MAD. Not at all; progress never destroys what is good and meritori and enjoyment anr in the 30 modes, but t'u: way in which theso 30 Jour fundumentol systom is perfoct and cannos be touched;

aro rade up varies in diferont places, uccording te differont nuthors. other minor SRUTIS and whnt not ! then you don't distinguish betweon MELAS (Parent, primary or fundamontal modes) aud RAGAS subsidiary nystom is susccptible of any smouns of chisolling asd

PiA. Captain Uny mentions only 12, ns in vogue in tho Dekkan and f ouly ndmita improvoments of every kind hut tolerates foreign. nd

Socthioru Indin ; and says they curreepond with the Dravidiau modus (Derivativo or sacondary scules). Oar achetno is a counsel of perfection in this respeet, whioh cannot pomnibly bo improved upou I tures and interpolations,-but niwaya atigmatising thom os foreigr

Nim, 16, 15, 30, 22, 53, 21, 8, 20, 28, 51, 65 and 17. SAT. I nm not going to accept your ipse dizit as regards ethor Bystems of TAIN. Yes: ourscherin of secondary or dorivatlve seslos o Ive telos or RAGAS f

MAn In Nerthera Iuidin, they renuenise only "Six Principal RAGAS," Mosic. Can you give me auy tangible ovidonco to prove firat, that an nalimited storehouse, embodying varions kidds of moulds, the North Indian system in not so correct or perfoot na yours ? Fmisy bo treated as common to ail nationalitiod, oreoda and castes the others bemng clan au BAGINIS, or wubsidisry scaloe. The principed eis me torluver mamed dilermutly by difforent schoola, bat MAD. Yont take the desoriptions given of tho 6 priacipal RAGAS in it is an inexorable law that the primary modew of RAGANGA R.A

the folloking ao thle aduped in RAJA SIR SOURINDRA MORUN the North: If yon find that thoy are not fandamental modes in tho shonld remain intact, otherwise the wholo system falls to the gro

TAGORE'S well-known works on jhe sonse docopted by all civilised nations, f.c., if tho scales aro not mado SAD. Well, almitting thia principlo to bo corroce for the prasent, lwas euljeet : soveral other classifcations up with the 12 somitonos only, but with gasrter tones or otber smaller Osyou mako out that tho G principal RAGA8 of the North aro E 0 BASANT Ewesist, it will howover be soon that the methed of treatmont in sltogether Antorvala, ithon you must acknowledge that such systoms must be barbarons and incorrect as compared with yourg olassed with the musio of aoni barbarous nationu. Now, whichever sectioua of tho orthodox Himlu community allowed thoir Musio to bo MAD. Tako thoir deseriptlon as riren by ho, lent nn authority! auterent from that of tho truo chis RAJA Sir S. M. TAGOREI "It is the practico to sing I. SRIH V. MLGIIA. sical nystem of Bouthorn India, wich porverted oy extrancona'influonces, such sa Perian, Arabian, Afghan, SATIALARAYANA. and ot her frontler encroachments, cannot lay claim to that conaammnto with the nso of three VIKRITAS, A very flat Deery Dat and F al alone ran be rocognisod as eciontifie- there is no necessity for the F natural in ite pecformance; quar ally correet aud porfeet 5cs Hlalloa l wly diegani arrhgata to youranlf nlnan tho erodlt of truo nnd unimpenchable perfection attainod by us iu tho South, whoro the tones enter into its composition, D end A being rend

sgutile preifecton, atet leavo erer; one ciso in th. cold! Paront modos atabd as puro and nnadultoratod as ovor. three SHLUTIS Jower thac in tho SHADJAGRAMA." PIA. Then you oppose all progrezs and advocato perpotual stagnation P VAIN. Murder of murdore | What a mouiter ee murt be!

18

Gix: Our dolicions melody mould ealled SitinAGA which Lelongs n. I already explained. to you that betwoon the 3 crtromes of tho MAD. Moro ininuto subdivisions of tone arr nde d I in (ui) the re. to the dintonic modo No. 22 with the E natural,s is such a ASIITAKA or uctave, thoro is an indinito number of diutiact audiblo sounds, ciust as there are innumerable stars betwecu tho priugipal Enharmnonic scate, iu the neuso in wiich the Grevisna employed it, ao ancifituoua melody hive, akin'to the muguiteent MADIYAMAVATI! au The woxt is II BASANTA which " is bung with the uso of two plauota in tho firmament, llaying rejected theae as utterly unsuited Sin which it muy bo applied to senles of other natona, c.g., Perma Arabinu, &e., an well as to the BILUTI VINA of fi North of Indin. VIKRITAS, D ties and F sharp, and with the omission of tho G." Tur Musical purposos, we camu to the Mathomnticat divinion of 22 Pis. It is quite clear thnt for present purposes none of the oti SAiWell, thia ia not ao bad, excepe thut our exquis ely beautif SRCTIS, (which wo shall, D. V., fully nnalyso by and by.) Kystois, which includu 4 tones, SRUTIS, fr., ured bo considered MISANTA Lelongaio modo No. 15 and liaa tho P' ntural not sbarp. VAIN. But for all pructical purposes, i. e., with a viow to singing with all. Let us coufuo ourselvos tothe Dravidias keremh arst adesnmit Auyaow it ig a dorirativo RAGA and uot a parent vode. wsthutic offect, wo found suat tho SAPTAKA or septoce nominally, it thoroughly. I soo thoro is nt least some method in ita mndners Nab Then followa II BhAlkAlsa " which ia purforwed with the u60 nud the DVADASA SVARAS of duodocimal divisiop of notes actually, were aufficiont and adoqunte. It ie manifestly ossontinl to atick to GAs. Bat what coufd havo been tho origin of xn many diversiticar. Lf D Feryfat, A fat, B dat: heroin algo wa had the appliention of opinion, evop ne rogaris tho number of tho fandsm ntal modes ? qusrter-tones," this division and not mix up any of, tho unlimited and ton-descript TAN. Excout for the rory fats, the guurter tones, and :le umisalou of the subdivisions of tono, mathometically possible. For instance, if you MAD. My own Cuviction in that the iien of the ait groat CHAKRS

flat, wbich spoms to be a slip this ngroce with our Modo No. 8; aumit quarter tones, why not admit 2, i, du, as a matter of principle ? was, for wanc of truo nnd suthentie information, perverted into tind.

Su I berioyo you ndmft shadus nppronobieg to those, when you sing such tho "ais principal RAGAS " whenee the number of the 26 MELAS w. Cbi tuen apply tuu name BHAIILAV1 iu Hinatani to our Toni. 'r J amu bot at all surprisod nt thceo dieeejntcies, na yua havo realls RAGAS as ATTIANA, NĀYAKI, KANADA, &c. applied to thu uggregato mamber of HAGAN and RÃGIN1S

era living lo separato hemispheres, uisied by to wo-ms occaus, on it MAD. All thone aro DIASHANGA or ezotic, I told you, and are toleratod VAIs. How wo oprselves, truo dosstees of the ar, bave len disen gropo in tho darh, may be gathrrml from The toet Lie, soue mộl pere, witl so, many dide: out languagea, castes tual aatioualities, but cians living in the very heart of theTrmil and Canareze voontrics, hiss witbout a clear systom of pictorial notatios, or aay coutuon written as licencua, in deioronco to the corrupted tastes of ovor-erring inortal. ity, like yours. They do not form part ot our scientific system and brought into voguo an imperfeet elassificution of :12 or more RAGA auguago, uudoratoou by all your iarned classes! unublo to reject your ways, we tolerato thom ns sores in our fleeb t masculine and fominine, in absolcte ignoruueo of the more complet 3. Yosyitis idle to purauo tbie mateor uny further. Viby. Says tho paront MELA to these basturd RAGAS, schemo Lnown to tho Telugu speuking musicime in their own mide Hlow about tho muaio of Westora Indin, Central Indio, &c. What my nuncle Lear told his dustard Regan :- AYA. I linve honrd of anothor version of tho dory, which atag irhs ifere agaiu the muain clesmibestion is tho samo as iu Northoru " But jet thou art my flesh, my blood, my daughtor ; lia, though tho names of the six pri wii RÃGAS vany cousidurably Or rather a disense thnt's in-my flosh, only a fow RAGAS-ci:, th tt popal on were ic! known te tho ancients, nnd th tin pitire sehnp of 72 111 18 will bo agon from part UL of Balicant Trimback Subustrubudhe Which 1 must needs call mine : thon art a boil, nteresting brocbere on " Iindu Minsie and the Gagan Sumuj." Un A plaguo sore, ur embyssed earbunele superadded much Inter, ic., in jeomparntieely recen' fimr. : surmised by Pra., a littlo while ngo. go 17 of Part II of thiu work on the Poona Guyau Sounj, you read, In my corruptod blood. But I'll not chido thee, KALYANA aod ABIIRANATA are two of the best and choicost Mend whun thoi canst; bo better at thy luisure; MAn. Tlnt is what TENKITIN IEIH himelf

spechinens of linda RAGAS or seales. KALVANA requires C I can bo pationt.' The originator of the egplungesinnd divimion of m befure; 1 do oot beliovo it nud hold that the fy nomo esisted a natural and flat, D sharp-sharp, E, Fand A natural, G natural and San. But wo are not gong to mend our. ways:" We delight in quarter along and was simply concenled, not outy fonn raugers, bat n dat. Arnia AHLIRANATA roquires C, F, G, A'natural, D sharp-sharp, tones und accidentals.call them nores or buils or what yoa will. VIOL. Don't toll mo of any Nusic with quarter tores and onc-third touos from gar own countrymen, for thonsands of yrar-thnnta tn yih natural and flat, Jt will thus be seen shat theau melodies wil procerbiully mystio waya and misdat hakł uver be escoutod ou an instrument with fixed Wiya anu tempered arps and tats," plemy. 40 out of their 75 " scientifically corroct" modes show a closo

Fnough, cbough! C anl G rat hre quite enonh to kil me suecession of sumitoncs, which to my oyes npprar barbaroun Sax. But it ia the syatem of Northern Todin: (HNEMA:S) 4X ndheren closeat to the great Sanerit treulices en Meale

tright: I bad no ides that my own coauirymen in the Nocth aud onough; it iu with superhaman patienco that I at all deign to heur uf thom. An inekow ghipn of quartor-toncs will drive me mad ! MAD. Ilieg your pardon: theer trenfises deal welen mtate of thin grite differeut from eur present system wi no leked ioio 9h3. idis wcoud bave a abaro in munlering me thas in cold blood! Vidu. I Vibe. I am the quartor-master of this Ducdame Acudume1 Tho momont by our great Rimhis (NAHADA, &e.) It t ide to lond. for - tremn HRthe ghestwillugly iato your hzuls. Execute me apcodily I any one saya another word of qunnter tonca hore, J'll pack him off to lintion of existing mythods with those of ebaolete dend-letier-bosre Bnt Mhnt nonsenee is all thiel 1 olways belioved that tho more able ad lodnod disinictions wo made in subdisidi.g toues nudi the Quarter.master geuoral to be firet halved nnd thon qunrtored ! PrA, Then our notion that your Musie has been ntirling in a stnth Pia. 1 would ignoro even' theso 40 which partake of tho uaturo of absuluto ntagnutiou for tlniand of yeare civoneiis! Huitouch che mere excellont nud Liglily artistic metio wo producod. Chromatic and Enharmonic senlos. Purely Diatunic scales, suitnble MaD. Ulterly orroncoue! nrother delesion t be pttol,mintee! iud or prepheta gsually pridod themuelvesou their kopn apprecie for onz purposes of modern Harmony are the ouly ones we cau accepl Lefuru entoring into nuy inventigation uf our prestht Ficonu f theho pinute diforpnced Wlint do you call Chromatic, and what Enharmonic, as diatiuguished Pis. We should however wish to satisfy ourlves, as to what so p.Tol was the yigw the ancivnt Greciam eutertalned; -they called thoir Eahargonio ycales, the most porfeet of Et from Diutonic! Aro any of our modes Chrumatir or Enharmonie ? euciont trentiscs ay, nod what yon now prnetiee.

This is the pare ecientite vien ; your impcaching them in accord- MAD. I nlroady expluined tint Diotonie literally meane progressing MAb. It is proposod to coliite the SANGITA EAPS 1s IRA, Sc, tidel

denoe wif te modern Eoruyeun thniry of Kyual temperumeut pimply by (jutl) tones, but as his is niot pho caso in any of tho Major and sido with VENKATAMAKIII'S works; you piry thon compare them!

degrades your nonee of discriuit tion in oureyeal I meintain that Miuor senlox of Eurppend Mnaic, thu torm is n miunoidr. I ulso GAs. For my own part, I abould not troulde myuelf about antiquste

he uso of caarte tones is tho greatest merit of our system and the statod thut according to the curront use of tho terin, all sealos mado or hotorodox mothods, nny morn thau nhuui tho nucint Greci

bust singer all opor Asis invariably dse them, truo to thoic uatiunal uj. of intoryals not excecding a tono may be-classed ns etrictly Medioval or modern Hindustani systems! MAD. Let thom oxaminn everything, nud judee for themgelvee Or inetinets and inspirations! Your phritanism in ulterly uu-Iudiau, Diatonic and that wo had D'of thom (page 12 guipru). prennt Dravidiau nyatemn in the mmuid perleet of all, 1 may: aNi eicera biy erotio, or na Fidu, would say, idiucrutically hliotic! Pia. Well, theso mny bo tolorated for puroly melodio purposos into comparison adl Wustorn aml Eastorn developments. Hin. ofho svidence of the best molern authoritics ia contrary to MAD. Chrometic senlos aro thosg in which a continuous guccession of yemitones occure, from'one end to the other, or whoro the majority -Vibel An madly iu love with maducsa us evpr! our beliet, and it is misrepreecn' tovhs liko thene tle have degraded ur Mnbig ia the oyee of all eep d: menl Now for my evidenee ;- of tho semitonic notes within the Octave are taken togelhor. Now.it SAR, Supposing we necept these principles as curreet, how will you

i) 4tgatbgring of tho buat Iaiu municians from every purt you use all the 13 notes, it will not be a scale proper, as the maximum classity all our Music already engrafted upomn your systom? GAs. Don't bo ufraid; overything finds a plnee in oor comprehensis Tadio, o fowivears ago, a pure lliudustaui ezport frn .. Nopaul .number admissible in a scalo is 8, juoluding the octayo. If you take

lappened to be present, and hu extolted the intonntion of tho pure only 8 of them, you won't rench the octave or comploto the scalo. aud exhaustivo schome: it rejocts nothing; it tolerates every

Taajore nohoel Twagayya's discip!eu) as the ouly correet method. Chromatic acale with 13 Semitonic notes,-Ascending. thing: we merely wished to point out the defeets of other systeue.

Hr. 31.1 Kuoto ef the Poomn. High school has lamdelf acknow. MAD. The greatest of all drawbacks in thce eyutems is the aler noa p

Negl thet "rhe: Southora or the Dravidma syctew icmore Vedie tho clear and well-defined distinetion betw den M:1Asnud RAGAS,f.

uina tbe Northorp or Hiudustani Dhungu." betwgon parout Modes and Derivativo Mahuly- moulds.

C Cis D Dis E F Eis G Gis A- Ais JH O Pis. But you havon't yet tobl ua wherein liet this " all-important! (ti Tho following oxtruct frow Cuipt. Day'n tyark shonld Le ton- differoiee between your MERAS and your RNGAS. claivonas regarde the actoal practice all over 8. Indin, sud tho Doxkan 1 After stating bis oan urperienco bo adds :- Chyomatic scale teith 13 Semitonic notct,-Deacending .: VioL. Yes; you are alluding to this distinction Inetsmnutly withony

ie WiLtisy Joxue romarks :- I tried in vain to discover in practico nttompting ony explanation at all as to what it is liko I

by diiiecence between the lodian acale aud thnt of onr owa; but LAA. This will lead us to auother labyrinths of distinctions wirbout

Luowing my ear to be very iusudiei ntly exerelecd, 1 roquested a diference, for tho very numher lo! frioht on mo to denth.t

Aruan professor of musie to wrsompang nu hia violin a Judd A Nu Ni Dhi Dha Pn Mi Ma Gu Gi Ri RA SA PIA. Yes, 1 must candidly confess my wn slern in the fright, which thi

meniet, who seng by note some popalur airs on the loves of Krishua Pia. Noto puriicularly that we use sharps in ascendiug-and flats in Iong-winded introdaction to your system of RAGAS pius me inbt f

aud Radha, and he assured mhe that the weales were the same; and descending, thoagh the notes are identical. may well ropeat Lord Mneealny'a exelamationson Dr, Nare's hook : fo

:1 :. Shore afterwards informed me that whes the voice of a native I am "filled with nstouislmeid similar to that which Captain Samd.

iRger was in tune with his Hmpaihord, hu fonud the Hinda serica Vais. The use in some modes, of only a few semitoues, sny 3, (dult- Gul iver folt, wheu firet ho lmuled in Brobdignag and saw corma

uf zeven notes to the scale ascend like oura -- by u sharp third."' tatur an tria sint multa) following in closo succession, with larger

Sac. It is quite evident that our wily musicians enng to theac European Sntorvals intermied, as in the subjoined oxamples, cannot altor tho high na the oaks in the Now Forust, thiuilder as largo as buekets, ant wrens of the bulk of turkeys. Tho wholo of your systom tout eeer

cunnoisseurs only in those scales whick they knew would be accept. integrity of the acales so as to reuder them renlly Chromatic. componont purt of it is on a gigantio sente brefiet, E mny ropt

nble to thểm, avoiding precisuly what we most delight in l Tones. the wholo of tho first two parngraphs of that Essay, ns applyit

. All we delight in is uot alwnys wholemume or t ghimate, and we word for word, to your monstrons mountain-wikiug machiuery ! VAIN. Tho description ie npproprinto ononeh : but you foret that n should certaimy muke use of the rwvih-atiou arouud ua in discrimug iting as to what aboull l admitted mel what avoided. Dioderns aro comparatively "dwarfs, dwielled runx of lint m n. whereas theso ancient Rohis wer giints t no commen strrngth tur. Eridensly,it was instinet that gubdled :lore muriclang as it did old NC SA DA RU GV NA NI PA DIA NA DHU NU SA KA plyxienl and intellectual. You lnugh at Hi esaggeration, in m sir Joho Falstat, to avoid offeudiug the Hor-apparent. JAYA. It thereforo follows that not ono out of tho 72 modassis a RAMAYANA and MAUABHARATA, iguoiing the gigmntie strm sit Precisely, whet wi wiewly amundnd then, nud better bo avoided Chromalic sonlo properly so callod. turea, which nonc of your mudern artisang, with l their weiontin for ever, Isay, sas matter of principte. You'll soun suo buw all MAD. The word Enharmonic is ueod in 3 sonsoy, vis. sitte of miuate tono-modulations ure iutroducod for tho parposo of subterrauian oxoavationa, uet to speak of tho few surviving mens aeontatiou into our schome of GAMAKAS, which is imbedded (i) Where sligut doyistions from oxact intonation aro permittey a in violin-playing, where a roal distinction is mudo in executing n noto ments which ntill atare you in thn fare ht t Caloenus of Bhaibe! thet of our RAGAS and coustinrea its grostest merit. . Bomu alight dedloctions and derjutiens from eunet intonation, marked with differoni niguatures, e.g., Fit or Gb. These do uot ViDe. Oh! comu to the pont we fve done vith your Cok r

Gur wso in Viclin -jastrumentation by European expertas but titey come strictly within tho scope of scalo-formation, bat relate to Orna-

ate esccuted so astistically as tu form eplendid Greces tid embellish- mentation ; wo shall consider this, whon dealing with GAMAKAS. Moles! Wo are in agontes as to loes we lllipath at se

(ii) Whero tho damo noto is played on tho Pinno aud othor keyed underneath tho 1001 legs of your Pelion-on-tw a-Colossas af Moultr

nenw, wituout infringing thu fundadiental laws. MAR. Tee great mistaln to be uroided ia to confound Rules and Regu- iustrumeuta, though different siguateres ure employed, without any VAIN. That is uot our fauit ? tue systom of RAGAS is by uatare

t tatiig. wiah Licencer nad Libertice, unauthorised b law. distinction at all as regards intonticn. In this senso, the change of such a kind that it can be multiplied to on unlimitod extent, a. go

the namus RI, BU into GA, GI, may be called Enharmonic, but, the shall seo presoutly. Our furefathers wolocted only a certain nunibr

Hax. But whe,why do yon condenn quarter-tones. und other minor notes heing identical and the changu of nainos being ulloyed for specitio of thom and worked then out into a cousistont Art, which is didicul

tutervals? Wly are they uuscieutiic ond why wuauthoriged ? purposes, the uso of the torm would bo suporfluous and mielcading. to aequiro; bat the little thut wo arn able to master in our lie.tim

JAYA. None of our Modes cau therofore bo called an Enharmonic scale. givos us unbounded ware nud joy, such as yon never van fer without analssiv ; bi full all the coustitueat elemeats of our HAGAS.

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What on earth are theac RAGAS, I osk, as distingnished from LAK. But wait a bit; you are eycling away into another hemisphoro of Inbyrinthzs before we ontor into the mazojof your RAGAS, frst LAr. Alas! how many odditics snd eccentricitics is one to pulop with! ur MEL.AS, and you'll novor tell me. There arp sovcial clearls defined difforonces het rer thom, both orplala to us the main diatinotion botwoon h MELA nnd & RAGA, tor Man. How noout the eudless " Irregulars" and " Unkaowables" you so their physical configuration and in thoir esthetical or emotional wo have not boan ablo to get this out of you as yot!h patiertly put up with in your Grammars and Philosophe? uracteristice Oonfioing mysulf tirst to the physical aspect. I would MAD. I already stnled that there were sevoral im portont distinotions MANO. Wil enbmit to tham, proviled you give us clear adt intlslactory einen MELAKARTA inbe a THAT or mun,-in other worda,- both physcai and msthetical; I'll first repeat tho porely physical. explanatious for overything, which you treat as exceptionnl fuudamental scale,-indicating the poverning or ruling prinoiple, (i) MELA KARTAS aro Fahdu. (1) JANYA RĀGAS or Doriva VIDU. I'll eubmit to nothing, bat keop erying cock-s-doodle-doo is. KARTA), secording to wshich the MilA or taning is regolated) mental Moden of Primary ocales, tivo mnolody moulda ore Secondary GAN. To mo it seema quito evident that tao Grecians who atole strny c., the standari guiding thn detetmination of thu exnet jotervala oud are theroforo rightly called ( scales, genornted by tho, Parent relica from onr subterranean storo-housert osught a bary glimpse tween which the notes nhontd bu aced in cach principal snalo, RAGANGA, that is, ruling < Modos or MELAS. Each: RAGA of thia our important distinction, and not comprohending cractly as to enable the player lo hit upon the correct frets of the YINA. or Ruyal RAGAS, they sre alwo ) muat theroforo fall under somo what ie repfesontod, interpolated thoir own, namca as in ovorything For erample, in whut you call the Major mode, our 29, tho third called JANAKA RAGAS, i.e. ! MELA. (Owing to the elimination elas, calling our main MELNS, by the namo " AUTHENTIC" or nd the mizth notes of tis srale aro one nomitone hihor than 3n the Farent modes, because they ! of certain notes from certain gorerning modes, aod our nubsidiary, or derivatiro RAGAS by the tiner (Nos. 20, 21), whorn these notes are represonted by dats and generato other cubsidiary neales ) RAGAS, doubte frequently arisc as natne "PLAGAL" or obliqno s-'e, of diverso kinds, but with tho ' to their trao parontage or source, PIA. But tho uso they made of liasal modes was quite diftoront from Rtas fuindameutnl and analtor. ) but thare nre specint ezplanations youre, an Mud. pointed nut a little whiln ago. ( 36 molen, waere each varying not: in a characteristic, Bx the ablo key signntures. GAN. Yem, thny contd rut plann mots train onr wily ancestors, and HEL.A. Thus these KAETA or RAGANGA RAGS role over the rest. " in each caso, cloaring tho point.)

Why, thie tu eactly wht the anciont Greeks called AUTIENTIO (i1) Theso MELAS determine ' (ii) Each RAGA mast follow could not surmiso whoruin o,r nyntam of JEaGAH AlTered from thal h! our MELAS. Even in the case oif the Iatter. thalr dogealntance with HoDis: (from Anth'nt to ni) that is, seales which esercisod! the key-signatures or VIKRUTI ) invariably the koy-signatures of BIEDAS appropriato to cabh ) tho mode from which it is derivod. only tho Diatonio scales, oxeludin ; the progressions Fepresented by a supwnor p ver ov e othersinuidiaty ueales, which were called fundamontal scale; i. e., tho ! In puro orthodox Dravidian acales, our I (a), I (b), nud VI (a), VI tb) showa that they were not fully KOMALA and TIVRA or sharps > clasned ns UPANGA, there is no cognisant of tho eristenco of our 72 modes. Those who koow nod and tats inherent to en h > oxcoption whatover to this rejected them, must have been graet boorn indead ! mode inother words, they docido , inexorable law. ViDU. Tbose who knew and retainod them mnust haroobeco grentor cou can f Biat it way nut iceity diien thenfrom1 ax to which of the 4 variable (jil) Accidentals havo cropt bures, bears and Lisona indeed ! Thia pr's ns Svbot aniel depth such hasty geooralisations LAK. Surely this main Rystem of 72 was quito cnonghs why go and pungo all ab [im, )meste aneso tle West like you, who indulgo notes in cach septavo should bo / into certnin eantic RAGNS, classed taken in each song, vis., tho as BHASHANGA or DESANGA, create another hell of confysion with n scheme of Bubsidiary acaios? a tere spuculatie ttleo king brath ant br wy hanging higl in tho air. A, 1, U to bo attuched to tho > bat il the forciga scales in which VAIN. Our good ancestors weru not satiafied with thene 74 modes; they it. 'Leave your gens alimations in the air, nad come to the point. S 2ud ard Ouh 7th thoy ocour aro relnined only os so coald not fail to obserro the immens varioty of effeoin that conld bo n. The dintiuction lelweeh AUTUENTIO oud PLAGAL moues waa N. many prodignl, sons and scapo produced by dolibierately akipping orer oortain nobes in A, scale reglly no di tiuction atuil, toe mnin differmico lying in the compass (iil) Accidentals are graces, pr illegitimato offspring. as a matter of principle, oud by placing the notes in, varios or runge of nutea betwera th Starting point and tho Final, Threo of strictly prohibited, and (iv) The derivative RAGAS poaitions so as to form incomplete aivl ziyzag ecales, sabordinato thn toganast vrtng in tha AUPHEN TIC nslen werofraumed below the cui nover occur on any nood not bave their. neceuding to aud begotten by the same parent modes. b Toue, sn that th mil lieg in the PLAOAL modes comtarnced from account whntwoever. ond desconding scales completo, or LAX. There will be no end to this begeiting and begotton busineas ; I'II tho Dominant, while the ATIEN NC had their nounds comprised (iv) Thoso MELAS hare thoir rogular. (a) Whoro the progression mako a deeperate effort and nip it in tho bud. Look Eero now. within an octaro fromh the Final. This was the ailliert of poasiblo AROHANA and AVAROHANA : is zigzag, or oblique they aro callod I fatly deny tuat whatover amouns of internal and eftornai chango distiuetions and has wisely wwea diseerded in mudern Buropean Munic. (asconding and deacending : VAKRA ; (b) Whore some neten aro yon may introduce into your musical antes, you can thergby prodnco YAIN. Our melodies rango frecly ovor the full compass of .tho humtan scales) nlways SAMPURNA or deliberatoly oxpungod, they nro absolutely no EXPRESSION or wsthetic cmotion properly ao called : roice, which is generally 2j octaves, for one and tho saide singer. complete, ie., no notes aro called. VARJA; e.g., when yon havo I say this is all due to the eentiments convoyed In tho Werde attachad Pt. All the same yuur detietion of MELAKARTAS corresponds in deliberately 'omitteu thorefrom only G notes instead of 7, they nro to the Music, and not to the Mfusic itself, which is utterly meaning- the main with that of the Greek ides of AUTHENTIC modes ; prooogd as a mattor of principle. They called BHADAVA or Hczatonic; leas per sc l now to detine what you etnctly moau by a RAGA. aro Ileptatonic seales and tho tho : where yon have only & notes thoy GAN. Yex, I have often heard this repeated and know fe to'be wrong: VAIN. RANJAYANTI MANAMSITA serinl order or progression of aro AUDAVA, ot Pentatonte. Less bnt can't say why ; you 'can gire un goorl reasons for it. RAGASTE DANA LAKSHANĂRA. noten always reu: unyariod, than 5 notes cannot constitute MAD. This is a fallacy orploded centarien ngo. I need oBly reler yog MAD. That is, considoring it from a purely asthetie point of viow, a RAGA tno senlos boing writton thus, RAGA, as a rulo) (c) In serorai is something wlaich pruluore (i) TANJANA, that is, sonastions Sa, Ri, Ga, Ma, Pa, Dha, Ni, Sa, RAGAS both the abore olasses to the ablo refutation given under ' Art Dramatigue' In the Phitosophi- cal Diotionary, by the great Scoffer of Sonlers, who begina by yooting pleasing to the auditory nerves and the mental faculties affocted Sa, Ni, Dha, Pa, Ma, Ga, Ri, Sa. VARJAand VAKRA' aro combiaea. "cos dfranges paroles d'on assez munvais" critio like yourell. thoroby; (il) RAKFI, tliat ie, omotions pleasing to the heart and (v) The melodics falling under VIDE. Alaa! for luckless Lak : you'll soon lsak yoar lovely ntk exciting the rarious paswmt, asnally calledl the NAVA RASAS; the parent modes can be formed : (v) The succoneion of notes a must invarinbly follow tho ornot MAb. "En general, la musiquo rocale do Lalli n'est Ratte, on le fepeto (iii) RAMYA, that ing ferliags of satiefaction, wonder and delight, with any order or succession of ordor spocially prescribed for each "que lp pur recitatif, et n'a par elle.meme nucune copression du senti- on identifying the peeuliar phynognomy of a RAGA, sad bebolding notes, without any restriction RAGA; i. e., tho AROHANA and "ment que les paroles de Quiuault ont peint. Ce fait cet'af certain, what is anblime aud beaut,(ui iu ita physical aspect or conliguration whatover. Composers are aL < AVAROHANA separately indicated "qur, sur le meme rhant qu'on s si long-temos cra plota do la pics 1.4E. Whut on carth is the plynicel confgaratiou of a RAGA as distin. perfoct liberty to do what they < for each and every one of the 1001 "forto oxpreaaion, on n'a qu'n mettre des paroles qui formeur un gaished from its wbetical aspuet! like (barring only accidentals). ( melody.moulda ! "sens toat-s-fait contraire, et ce rhant ponrra etre Appliqna n ces MAD. It is tha sgyregato of the component alements which form tho f. GAN. Thank God, at last I ft is such a comfore to know all this. "nouvellen paroles anssi bien, pur le moins, qu'shx ancieunes baaia ce foundatios for the maperstracturo of the RiGA: c.g., the motcs of which a melaly should be composed, the order in which ViDo. Is it indoed ? these d-d diabolical diatinctions givo mo aoch "Sans parle, ici en premier chmour du prologue d'Amadis, oc Lolli a " esprime cceillons-nous comme il surnit fallu exprimer endormons- - thoy should follow one an ter und a host of ether coguato mattora. drendfal discomfort and disgust, I desire, 1 wore deop down in the YIOL First giro us . clear detmition of s RAGA in its phyrical aspect. diton that diro Destiny determined to drop mo into till dooma day !. "nous, on va prendre pour esemple et pour pronve as do ses mor-

Pia. Yon: what carthly occasion is there for all this hair-splitting and "ceaur de la plus grande repatation. Mao. From a wcthuuical paus of view, a KAGA may be dofincd to bo a cob-wob-net-work ? Look at the endless varicty of our Music, without "Qo'on liso d'abord lea vers nilmirablos quo Qainaalt met dans Ia Melody mould, t a mldor mndel, nocoriling which a melody is en sotn of all theso confounded distinctions. "bouche de la cruelle, do la barharo Meduso (Persce, Acto ilf, ebaped, like the monld aod-miatris in whinh a printer's type is cast! MAD. Your European uy stom falls wholly undor our MRLAS or Modes, "Scene ]TC): PiA. 1 see Capt Day calls it a melgdy-type; have you auy spocial -the only diferenco being that, whoreas you havo only 2, modes, "Iln'est peraonne nai ne sento qu'un chant gol sarait l'expression reason for calling it a melody-mould'? " veritable de ces paroles, ne saurait seevir pour d'autres qai prosen- MAD. A type is a certain nhject of detinito shnpe and eize, cast out of a Major and Minor, we recognise 72.' It is for very cogont roasons indeed that we cannot class tho four forms of your Minor as derived from or "teraient un sens absolument contraire. Or, lo chant quo Lalli met mould and its matrica; eg., th Farjous churaoters nn.l lottera "dans In boucho do l'horrible,"frduse, dana co morceau el dans tout constithting a printar's fount are the types, but the moulde and the belonging to ono and the samo main modo; and this proves what matrices which shap tha various kinds of typos, aro quite distinet consummate perfoction the civllisation of our Riahis had ronched, "cot acte, cst ai agreale, par consequent si ped coavenoblo, au whilo all the rast of the world was buried in darkness; it also "sujet, ai fort on contre-ens, qu'il irait tres bien pour exprimer le In other words, a tgpr is u thing prodac: I, whito a mould or matriz is the model according to which it is prodaced. Similerly, tho RAGA shows to whnt depth thoy penetrated in overything they nttempted. "portrnit que l'Amour triomphiant ferais do lniemome. On no GAN. While " Yo, gontlemen of Europe, that lire at home at oase," laugh " represento ici, pour abreger, que la parodio doyoes cinq em, nvco is the mould, and tho meludy cast in it ia the type; I thoreforo Fay a RAGA is a melody-mould, necording to which awy number of at us, swenring wo nover divo doop into anything wo undertake! "lour chant. Ou pout etre sur quo la parodie, tres sisco, a tniro, du LAE. Enough, onough ! Come to tho pointf 'reste do la scone, offrirait, partont mne, demonstration ousal melodics of a peculiar type, make, or configuration may be shaped. VIOL. Bat who is to shupo tho molody VAIN. But how is it ponsible that Mad who rightly attaches such weight irsppante.

VAIN. The componer of courso. to this all-important distinction between MELAS and RAGAS can PsA. Borely ho can do what ho likes! why givs him a mould to shupe tolerato or connive at the erecrable medloy of primary and secondary his melodies in ? J havo nlways revered a composer as a creator and scales ataring u in tho foco of VENCATAMAKHI'S nomenclaturo who dares take opon bensolf the right to fettor his croativo genius! of modes (pago 16). I find that at loast 51 out of tho 72 names bolong Je por fe Le'nou tante dE la otort en tous Ju por to l'alles reszo ot da tie on tous AIN. The Scienre Jtaelf, as distinguished frot the Art, which alono is to purely derivative RAGAS, whilo only 21 havo differont namos!

Jeft to the mercy of th composer MAD. Yes; that is an idiosyneraoy of his; and what is worso, ho has

VIOL. (In despair) This is an unfathomable gulf of confuaion ond ombodied the VARJA and VAKRA progressions poouliar to theso

complication; tho moro I try to gut to the bottom of it, tho doepor I derivntivo scales siso in bis LAKSIANA GITAS, which purport to bo

sink 1 Do yon tean to tny that neooraing to your Scionco of RAGAS modols or prototypos for all com posors./ lieus, Tout sc change en ro . cher dman as- pecthol Siribte, a musiciao is not nt liberty to cctposn just na ho likos! GAN. What mnay huvo bnon his objeot in adopting this tomewhat per-

VAIx. Cercainly not, he mnst striety observe tho laws and rogulations verso and I should any, pernicious proceduro. P lionx, Tout s'a . nimoeta'onammoa mon 'as-Door t

of cach RAGA, keepiu ita ascending and desconding scales, and repro- MAD. His object soen.s to have boen to sclect only thoso combiontions

duco ita individual features, an in & Photographio likeness, so very which are indispntably ploasing to the ear and avoid snch artificial

oorrectly that an nspert may name at onco, on huaring a pioco, combinutions, as cannot produce really good musical effects. Another

in what KAGA it in eunposed, identifying it by tho strict obsorvanco reason may have boen to facilitato the identification of Koy-signa- ter lan ce du hout des cieus, N'ont of the standing laws unl rogulations appropriato to cach LAGA. turos in MELAS by the hames of well-known RAGAS falling under rible; Les traits que Ju-pi

VIOL. And what on carth are thesn lavs and regulations! thent. Anyhow that was his viow and I havo rocordod it as such. mablo; Les foux quo lo Bo - leil len-ce da bact dea cienx, .t

MAD. Thoy vary for cach RAGA! GAN. Ho is n great nuthority, aud has done ne suoh good oervice In. coining the now SVARAKSHARAS, that wo must bow down to bis VIOL. And how tany RAGAS havo yon got r. irregularity in this rospoct,-howover grave it may bo, but cannot but ViDU. Tbeir nom> is "Logion"! cbarnotcriso it ss'e gravo irrogularity oll tho samo. Rerien de ai ter - ri . bla Qu'un rabi dard de- met yous. rien de com-pa . ra-bio Aux ro fards de mos y

213

Voltairo thoi proceods to give his own opinion as followa :- LAE. Nover mind; lot him give us now the goncology of their Soionco of GAKy Woll, the distinction betweon dscending and Descending in quite RAGAS, for I see that's whrat he is driving at. as real and importaut in Musio na in ovorytling olae. "Pour mci, jo suis sor da contraire de ce qu'on avanco ; j'ai con- GAN. Tako care of yoursolf pow : no moro blasphomics horo! alto des rreillas tres exoreges, et je ne voin point du toutqu'on VIDU. Well, in the romotest antiquity, gieatly prior to Pythugoras' Facilie deerensus Averni; puisse mnuttre l'ullegressa ef la pie au livy de ju purte l'epeuvante cl a meort, u mnoins qu'on ao malentisse la mnusuro, quioh u'affuiblixsu bragging from borrowed resources, SAl. and I woro rascolly Irish At revocare gradum supcrasque evadere ad uirus Hic opus, hic labor cat ! r qu'ou ne dotrompo detto musiqao par une ospression qoucureuso, rats, -fur, I remomber it as ralistioully au rooolloctione of yestorday -- this MAD. was thon the great Dravidian Riahl, NARADA, who loarnt VAIN. All our vocal music is tuned to concort pitoh, in thal wo utart t qu'uno mauvalsa potrico no gate le chunt da tiusicion. vorything by roto from BHARATA, who ugain brought it all dircot with tho middle G of the Pinnoforte, as our SRUTI-noto nt Tonic; "J'en dia autant des mipls eueillons-sous, auaquola on no saorhit sub- from BRAHMA ! The truo podigreo of theso HAGAS Is thus traccable thin iw vory uopr, the pitol of thu Tuning fork, and ns tho toptiont etituur endormons-nous, que per uu deasein forme do tourner tout en is odopoor la sensating d'un Autre contro ma to the groat forbiddon treo iu the centre of the Druvidian Lorreatrial notes of thu ANUPALLAVI gonurally monut up to the Itth higher if ridicule; je no puis odoptor Paradise, tho fruit of which are roegrved only for the progony of this not thu 12th, reuching thoue notoa is vory diflieutt ; hic opur, live copre snuation. J'ajoate qu'on avait lo sens comraun du tomer do Lonis XIV prebistoric Rishi, NARAD-MAD: labur est; but to run dowawardw from those huights is nasy enongh

Nso. Confound it all : Jaya, won't you silence thin srcastio Satirist. MAD. But apart from this, the numbur of trausmnutations and traushigu- conime uujourd'bui: gueilagrait eip impoanlie que toute la nation n'out jas teati quo Luill avait usprime feparaue et lu mort comine ViDU. You put me quostions. and you wou't lot me auswor them properly rationa rendorodl possiblo by nyeteinntio chaiges in the serial order of

Cillegresse nt id uie, et lo xeveil gommo P'axs nghssement. I'll put it muro miidly then ;- tho notes is capablo of prodneing such ondless dive.shies of artistie

God uade Mad, Mad madu Modo ;- (4b !. Ahl 4hD) distinction. olaboration, that ao soiuntiliu aystopi con fnil fu aeentuato tho "On u'a qu'a yoir communt Lalli a ronda dormous, cormons tour, God made Music, Musio mado Molody ; on sers bientot convainoa do l'injasticy qu'on lui fait. C'est bieu ict Modo mado MELAS, to mark the Musio in ; Viot. Why, wo bave prodnced much greater varicties in Musie, without qu'on pout dire : MELAS mado Moulds, to muko tho Melody in! , recognising any such formal distinction as regarda the order of notes Il moglio e l'inimica del Uene. in the ascending and descending teales. Surely thee is rnthing t t. Ce latin -- In, jo dis, s fort bon ruison. though it blinks liko n GAN. "This is not altogother fool," I say ! prevent a composer from choosirg what notos he liker frm the usun) Tararowl stripned of all its feathors! grave, neute, circumidex; &o. Lak. Int how on earth can you go ou manufacturing an unlimited numbur of scales, -- for that ia what Iunderstand you to donoto by tho order of the 7 notea, either way! Tx. Let as aut bo roviving old oxplodo.l fallacies! 'i. Of course, vory mooh depends on the reudering of s piece of Ggure 1001-and what is tho objoot of swagguring about 72,000 ? Aro VAIN. So it is in our parent MELAS; Lut as our anecafors felt th thego numbers hyperbulical, fantastical, thrasonical or whut ? theae wore insutloient from au af itie point of virw, they procerdee mugie, and it is often oxtremely diflicult to grasp a compoger's mean- VIDU. Their YUGAS are chronologically Bombastical.l' to take up all tho difforent veinjies or comhingti - possiblo b lug) bat,yse alightost chango in modulation, even &f coufned to s single bote (s.y., E fat for, E natural) introduces such N vompietn Their RAGAS are chronohotonthologically Buncombastical! guccessivo mauipulations of tho numbor of not nase mimut, firet it GAN. What is the exact numler of our RAGAS?, Cau't you tell? tho aacencing scale, then in the descendiug nei mi- tronsformation, thet no words in aay written languago can bring out willy, in botE Tho differeuco more forcjbly. Ilo that hns not Inusie euouga in bimself MaD. Huw can I determine it, amidst such endlosa divorsities of PIA. Isn't thim monstrous? so feel this diferonco in oyery nerve and vein of his body, clasaitication by difforent writers. Adhoring to the classical tenching VIDu. You go by rhymo nnd renson, infis for troanons, atratogems and rpils, let on such man ho trostud" of NARADA, whone SIKSIIA is belioved to bo the treo nuthontic Obanrving time and seneon ; mnren of the Dravidian systom, it mny ho atnted that Soales in which They go by whim or whimo ARUIIKA. Carried by wimd or whistln! and rogulationa connpotod therowith. Two notes uro UATIKA. Sorc. Ted: I engeirod how many RAGAS you rockoned in all. Thres SAMIKA .. (Tritonic.) SVARANTA. (Tetratonic.) pising Luw and Order, umt analyaing everytng far its murnt AP. Among RAGAE sopse count over thrce Aundred, some over nine Four AUDAVA.(Pe: tatonic.) dotails; they found that they could mako a prodigions numiber huadred, frhile otbers sasist that the huinn body is the protosype of Five scales, and true to their uational instincts they left nothir our Musical systom, thst the main afieries are the chiof Modes er SHADAYA (Hezatonic). 1 N HLAKAETAS, and that tho entire uervois system, branching of Seven SAMPURNA. (Hcptatonic). vadone to do justice to the requiroments of Seionce in the matter.

Htow can thoro Le scalea with only oue, 'two or eveu three notos Pis. 1 understand you. Lo say that your derivativn RAGAS w Spio 72,5k0 runidestiope, le,tho alsiriginal basia of nur elaborato net- V10L. Mau. Moxt ot your recitativos s woll qs our Vodio obouta aro confned formed in 3 ways :- theao have alrendy boou stated bnt 1 ghould 1 worc of Melody- moulde or derivative RAdAS! to one or two uolos. Sevoral populur, reele and Jigs, buraery.rhymos, ,you to repent them moore eloarly, with practical illuntratinus. IF. Yon drea led the number 1001! What lo you say to this 72,000 2 VAIN. Yes, (I) First our apcestorn delibprately omitted ceetain notes Ioz. Death and Damaation, manl do you meau to say, any human &o., require no morethau three. Soveral of your melodies harp solely a RAGA throughout ita perfurmiance ond this atyla they cal Being can put up with all this ! ou the notes C, E, G, like all tho military Sounde and Signals given by Bugles and Trumpete, which are couaued to their opon notes as VARJA, i.e., where something wag withdruwen or erpunged. Cu Aro we not Lunjan beloga 2 Fi t'a I doubt it very maoh indeed; this is misio for tho devils, not for in the iustances I give below : * (ii) They then arranged tho notes in eoch scule in a particular ord GAN. How curious this is? Who weuld have thought.that there waa and accontuated them in a particular way, gonerally with a zig *sensible human boinga ot alll this musical secret in theae military sigpals P. progression of notos, which when erecuted mith all sorta of gra Cipt Yair Mutin is moant to pleasr, Hko the honey giren by bees; VIOL. But you con't oall thege regular melodios! and ombellishments created a peculiar fascination which sount But theirs is meant to teaze, like thu a tuy given by fleas Who the devil framed this your diabolical Science, 1 say P MAD. Perhaps not, but they answer the purpose equally well; and I can quite unique to their refinud cars ; this they culled VAKRA.

.4E. (iii) They combined thoan 2 kiudn, VARJA nud VAERA. And who the dickene created thie damnablo black Art? quote some other ipstances, where pages and pages are composud solely of theso three uotes placed iu, diverae poaitions. ,Of, courso PIs. It's nll Groek. You must givo us ful illustrathma esplaining A random rockless rickety rotten rusty Irish rhymo rans thus :- they aro not scales in the strict sonse of the term; and in principle theso differouces; otherwiao we cannot follow thom.

God made man, mao mado money ; This is the guncoio- only the Pentatonic, Heratoniorand Heptatonic are recognised evon MAD. Agreed: I shall tirst givo you the various classilications of

God mada bocs, bcos mudu ho wy; girni treo of the Mlack umongal'us an aeales proper; those with four notes are vory rarg RÃGAS and shall then proceed to give full exempliucatioos of eac

Cod made Seten, Satan made sin: and aro used only iu the asconding wonle, wheu combined with & moro LAx. Thero will bo no ond to theso classiucati oha and ozemplificati Thoy will bo amplifestiona ad ingnitum! U'n Joenmp. God got a balo, to put Satan in! full of money nud complote progrowmion in the dowcouding sculu, or vice verau, honey sa ... iA. Why should any tecbnicul distinction bo made ut all botween ViDu. "I'll apoak a prophecy, ore 1 go."

I wisl I coald get a bolo to pet this Satiric Satyr ip the ascending and descending scale? Ours ie uniformu in both. LAK. No: you neodn't ; it'salready fulfilled1

MILITARY SOUNDS AND SIGNALS. No. 1. Reveillee

-0-0.

Fiu.

NO.S Feec No. 7. Watering Order.

No. 15. Dismiss, No Parade. No. 28. Dress

No. . Alarm. Fin. No.3 hool in. No.31. Attention

os bave puddings und pary but boblirs wives lise killy

( 21 ) ₹>10.7 SCENE IX. ('LASS'NICATION OF TANYA RAGAS OR DERIVATIVE MELODY-MOULDS. THEIR NUMBER, FORMATION, FUNDAMENTAL LAWS, INTRINSIC DIFFERENCES: APPROPLIATE SEASONS OPPOI.TUNE, HOURS, gc., IL.LUSTRATED BY COPIOUS EXAMPLES. 214

MAD. The varinus . .tiea of RAGAS mey be clamifiod as shown below :- according as they are viewed with roferonde to thoir physical confgaration, their msthotical peculiarities, or their solentifo reletions to oach other.

Frum a mechuninal point of view. From an asthetical point of vicw, mn a gremmatical poise of view. t. SAMPURNA or Fall and Campluto=Heptatonic scutes. I. GHIANA-Majostic, weighty and imposing. I. 1. ORĂSTA, 2. LA, 3. RAGA, THASMA, B. V: HA C. ANTARA JHARHA. JI. VARJA or Retrenched ) (ii) AUDAVA=Pentatonic scalcs. I1 .. RAKTI, or NAYA=Plensing, sweot and offooling, classed also (iii) SARVANTA=Tetratonic scales. aa MARGA or indigonous. I. 1. RAGANGA, 2. BHASHANGA, 3. KRIYANGA, 4. and Incomupiete. (iv) SAMILKA=Tritonic scales.

III. VAKRA. 6wt, Zigzag or Irregular scales. II. AUTARYA=Northern or DESIYA=forcign, but acclimatised. III. 1. SUDDIIA, 2 SALAGA, or CHAYALAGA, 3, S or MISRA, &c. C. dc. What a gloyinnn meeen winet If the bare curtain is so interenting GAN. It is the sumo with a oteamer. You can go to London direct, or M1AD. Anyhow icc cannot urlook speginl traits of thie halt on tho way at Cairo, Rome, Gibraltor, Bordonur, &o., wherorer you which have a deop scientifie virniticance for us, nnd if y Hh Tils, what have you got to nay f Porrecto juguto historiur, havespecial attractions and objecta of intercat to detaio you. In the national melodies, Lhe pure spoptancous inspirstins of t vaptitas ( codi! Ramo manner, you may dwell on portioular notes folling in your way in find great importance attached to theue peculiaritics. ViDu, Well, w .. muuged with pluck, sans plmb or plank, into the the prescribed order of the scales and enjoy their special charms and PIA. I can't follow whnt yon mean by speeialty, peculinrity Blough of lasr mialr : wo'll slugh the slanda, nad plod and ply, allurements, with a peculiar'guato, euch as is known ouly to'a very fow, MAD. Tako for example, thr Poutetonic tcalesg our belove ovon among our own experta and connolasouts. You fiod them very prominent in Scotish Music, buty tuobinroff into new wurlde uf SAR. Hlow maby apecios of winea yon havo manufacturod; each hun ita comprehend their full meaning as is crinerd by ltt smidieal own flavour and its own virtues. You who ignorn distinctions of this dissertation in the Di tionary of Muwic: (Vide under oe kind in Munic resemblo the sot who mixed every kind of grog ho could The esistence of Sentish airs constructed on the serics Io. Let uu hirst taly a I anpe Af RiaAS, i.c. got in the samo glass and washed it down bin gullet, swearing it didu't of a major dintonic scale .. well known and has been nln w.bat constilutex their pac clasa con matter a bit, na it nll went down into the same stomach. to. Whether this pentatonid sories waa nequired throngl siste of SAMPERN 1 f um GAN. Tako our gamo of Cheas, the noblest of all our minor inventions :- a defective instrument, (1) or from tho melodic taste of sing complete, anrd iu trggular uuve prnc- how ditteront are the values and moves of the sevoral pieces; the two must remain mere matter of conjecture (II). Tho atylo i tically doue with thl progression caocles v sonku oultuanding only atruight lines, thn two bishope onl cross linen, tho two kuights only overy third trannverso squaro, tho accepted as nhdoubtedly nnciont, whatorer uncertsinty of notes in the atendt Igno two queens chookminting in overy diroction, nnd so forth. It is tho be ns to the ersct nge of the nire conatractod on it. Thes same with the progression of notes in our RtAGAS, though the moves any means numerous, ( !!! ) though their cbaracteristic leap third und fifth, and sixth and eighth of the scale, is' so nocessarily diverge to a much greater ertent. ermunly rec gnige in MAD. Teko for orample, the first melody,-Come, follow, follow me Scotish melody, that muny persons not only belfeve the p (on the title.pago,) you onn traco 'no spbolal featuro in the progros- of our airs to bo pentatonic, but do nobradmit any of GAN. And this is tn- ualy thn, you Somish. Howover tho taste for this atylo may hare arise European muci lion many do we? AN Wo make 2one of this; hy inserting the soverel VIKRITI sion or order of the notes,-they aro taken at random. But como to tho noxt, A. fumous Hen Convention :- the author of courao had no of noten was a very convenient one ; for an instrument po bHIEDASin the i intrtmedinte noto lying Letween tho 2 ertremes of majne dintonic senle In oro key only, could play thenn a in the three positions of the aeala where major thirda are oach tetrachordy cexplived in Secie VII. idea of following any specifo order: but apast from the se. is, on the first, fourth and 1ath degrees. In the key qf < Mao. Theac cannot poperly speakig fdll andder Dorivetive melody moulds, but are mebfogusl here purtly beeanso some of the JANYA quence of the C, 7, G, at the as shown below, adding the octavo to the lowest noto in ench enso. RAGAS hate all thei 7 notes complete, ntol partly because thu SAM- PURNA scales aty owastantly intermixed with the two othor clagses commencoment, and the full from A to D, our men will spot at once Pontalonic scale in threc positions, without change of a VARJA aud VAKK\ either in the useending ur in tho duscending peculiaritica of the kind occurring ia the " pauscs and at the t cloeo. 1 2356 8 scnles, so aa to produre the greatest variety Pia. Rubbish I there is no peculiarity nt all! Vinu. But why intorwis ?- I why. wo're in a terrible fir, on the vory MAD. That'e just tho point. Tako some rore; ' Tis a lemon you should verge of the Stys, with this Siren's tricka, with his Hipt and Iiz, ... heed y and Master, master, can you tell ; do you notico anything special ? Cax. Lnok here, tow, I H take up the rod! VIDU. The deuce I do | Sings, " Can you tell P" " Try again." A" It would not he quite cerrect to term these the koys GAN. I notice that in both of them the two notes Fand A, 4th and 6th, are G, for they want thee characteristio notes of oach seak ViDC. Yes, " Axsume the god, ufert to nod, and shako the" ..... sod! Pis. Let us get a foweny, VARJA scales are engendered by omitting rentirely omitted; similarly, take some of the popular melodies, in the conveuient to do an, espe-ially as in barmonising tunes this series it ie frequently neceseary to use the omitte certnin net'n lo hately and VAKRA seales by udopting a zigzng, Sight Singing made easy,-an ercullont book for beginners ;- in Up the hills in early morn, you huvo the 6th VARJA; the fourth nnd,n venth, vii atoo to atlx the proper alen key as usual at tho honenmnt. If, reversing the order. 1.AK. Hu wshere w toe ian of doing this, unlees indeed some drunken "in Lightly rou, you have both the 6th and 7th omitted given nhave, we hegin with the sixth, and passing dow Prumetheus dgaslont an eye or car (VARJN) in the process of in See how merrily the skaters go, tho 7th is expunged; the octuvn below, the freling of a minor koy is esta blibh. crrating thumn, 1 1e pusedthoir vital parte ond wade them herma- in Music on the mountain tho 5th or domiuaut is elimingted phrudites (VAKGN): VIOL. You spcak only of the principal part in the melody ; in other vocal of A, Daml E minor seem to he prodhced. Bosides tur parts as well as in the accompauiment, the omitted notes duly appear ; sir keys, e few others wut . found, which Segin and cn GAs: You have te apprecintion for the glorious triumphs of Art and in fact without them, it will be no music at all to us, e.g., in tho (siguatare two fhis), though alse played with natoral n Design in tomfs pnduora of Creation ; nor do you reengnine a mulunth pand 1 acteally Sublme nud Bonutiful in the simplest sccond half of tho last natod melody, the dominnnt, which keeps and Eteing avoid. I in the meludy neither of the fatsis phemaorna4 Mae Hoa cu you posahly appreciatn the moro dinuing its existence into your cars as the rootnoto in two of the parto, "A curions peculiarity of tunes written in this serics i) intricale audsagun toral perfretions and architectural beauties of a is the very lifo and soul of the molody. the procimity of the soeond nud third positions phrases down from one into the other, thasappearing to bo bl purely Celeniephr the adjoining keys a fuil tono apart, moving for exam; Pia. You're off the fiuln aggan: whut a wondorful talont you pedants into F and rice uersa. bave nequired to ileer ulwayn clear of the truck ? GAN. That talent b yours, nut ours: I'll take you at your word and "To recapitulate. All tunes in this style, if troated ns m aball proceed te iilustrate the differences Inheront to our rystem of Musio in the woodland Monic "in tho vale can be written as if in the koy of C, without oither 8a BAGAS by nd ftbur exunples ;- and you'li ace who steora alwaya Man. That's nothing to the point; I spenk only of the main melody, although if harmonised, or accompanicd, the samo notes leur of Lbe tra hA the other parts are mere expletives, from our point of viow ; filling the sighaturo of one sharp or one flats There are also (i) Traslling by road, or walking on foot, yon may turn which- up gaps, nud making up for the want of true artistio melody in all which ereu require that of two flats, although none of i your tusio : just omit the firat part and soo whut the rest is worth. istic notes of these scalea appear in the melody. The over way you choldo, a lopting any by.lane or side-path and pueping in simplest form, as in ' Wero na my heart licht,' is somow at every doar, it you like, without rentriction. Well, this is just whet s done in Europonn Music, whero every licence is law. P14. How often am I to ropent that Melody. without Harmony is no musio at all to na; why do you worry yoursolf about our methods? nous, and conaiderable skill is ofteu ehown in thd intor (ii) But usiun a conveynuco, you must observe the rulo of the roed They arc perfoct in their own way. major and minor phrases, not merely by means of tho but by transitions peculiar to tho old tobality." (for if you go richt you go wrong) and cannot go ezactly as on foot. Nor can you porp in at orery door, without loaving your Broughom. MAD. That's just what they, aro not; and lt is .this that I want to PIA. Woll, what do you conelude from this ? Well, this,in exactly what in dono, (barring uccidentals) in our bring homo to you, so aa to move the curtain from of your lida and MAD. I say this provesthat you have got the batiest notions MELAS oF RAGANG A RAGAS. enuble you to soo evorything in its true light. I say, yon always (iii) Next if you travel by Railway or Tramway, the restrictiong jumble these matters without system or principlo, as in tho case of most ancient, importan: and fundumontal principles un system in music,-ono I way, which by means of tho Plain are preater, you rau't turn or stop where you will, but must follow Chopin's so called exorcises on the black keys! If you start with the been immortalised by the excellent disceromont, celestia! sag

thu prescribed course, and cannet possibly duviate from it. Well, chis principle that you will use only the black keys, stick to it, 1 say, and ia our syslem of JANYA or Derivutive RAGAS. don't mix them up with any of the white keys, either in the accom. and indestructible anthority of tho Milk White Hind,- -dit

panimont or in any of the other vocal, parts. If you onn bring origin of which is clenrly traceable to our vencrablo old (iv) Now you huivn local trains, which genorally lialt at overy station, and throngh imine, which halt at only specific localitios. youreeif to undorutand the roasonableness, consistency and beauty uf fons el origo in Music, ns in everything olso, of all that i thie all important principle, you'll see the raison d'etre of our VARJA really worth admiring upon carth! Thesn give pansn idtes of the meveridl classes of our RAGAS ; cg. KAGAS, in which tho notos oxpungod never appenr. P Vios. Stuft and nonsense! Why will you digress ao per elinta staecof balt ure entirely stipped overt provokingly withont any rhymo or ceason and waste our VAKRA, whch pre dal ohliquly backwards nud forwarde, within PIA. That will never do for purposes of Harmony, aa in sovernl of the Timited disfaneea, nerasding to iueat raquirentents, and ao forth tho fivo Pentatonie scalos with black keys the leading note is wanting. MAD. The scale discussed in the abore extract is ov "BOHANA," in which the Fand B (fourth and aerenth) Vibu. I don'toorn e de wir your Tramn ot Tram, Broughnm or Pernm i MAD. Tant pis! the fact howevor remaina thab in tho principal part of Change of Tonic cannot alter its wstbetical cbaracter: i I'wh njendt th Tr, and mw.Cyel by Bit-but I soon hopo to lly, every telody, writton in such scales, some important Dotes must bo sligbteat kicship, either by afiuity or oopsanguinity, wit Tright soroes tho aky, alove tho world no high ! omittod and chis is all in all to us, and oren in the ordinary popular KaA, Woun ginr ronpetp thet, wo'lt drnp nur HAnh, bat na hunr ae we molodies just pained, this omission of potoa is oharscteristio, modo; and transposing the octate a third below the Tont silly dodge which your ancients and medterals resorto Viom Nut at all i It Iw purely nooldontal, 1 oay. 1

Whu ie is qulatla of varigue methods of trratment, and prodecos MAD. Thie in satikfagtory : I shal now gise you un eramiple of this dilferen: iinds of emotions decording na is ie classited under group limiced acale, witha more frequent and etudied ropetition of ons GAN. These two snng the Gnest Duet in tim Duneiall Grent pity wo haven't another Pope to caricature theml. Surely it wnr ozplained IV or V in our twro set of modes; for the sih and 7th being VARJA, particuln note-say the tbird, GA; here tho sound-name itsolf i that in tho NOHANA the 3rd and Tthr were climinated, wlile in tho tho HAGA may fall noder modes 26 ubd 29, oe under 06 and 6. ingouiously interwoven with the worda, n favouritedovice with tho other the 4th and 7th were the notes crpouged. musiciana of the Dikabit family-(vide numcrous other examples of Moào Mfode No. 29 this kind on pagos 11 and 12 of the Iustruction Book.) VIOL Woll, I am inclined to agree with Vidy. Rnd It. The didforenco ia next to nuthiug. Besidos, thu scalos are ilentical if yon inke F ss tho Tonie in the lacte! . ane. incinding B Bat among the omittad notes. Group V. You read it thus

Mode No: 647e Moda No. Mo I rond

it thua

VAIN. I woo, you'll bo harping on thoso alringa till your heart atringa brrak Wtb. In such cases somd prefor to tako the earhicat modo adininsiblo, and put it ander Mode No. 2S FENKATAMAKHI profors the Inst of SAW: How can you say that putting the cart bwuforo the horse, or tho hool over the hond in the same thing as the normal position ? all and clussos it uoder No: ds; but mozo of this by and by. Pis. Well thea, for our purposea we cau treat it ns belonging to the GAN. Or that taking Wednesday as the beginning of the week, banday

Natural Ley,-our Magor,your No 29. .may bo deseorated and degradul to tho rank of one of the woek deys? VAIN .. Keop the tonio C sounding in every miolody as wo invariably do JAss All the came ; but mind you, the Tonic is always C, under which- and you will soo that the two l'eninlonic acales jnst named, erer mode you class it, and no traastutation of keys must bo dreamt கா-ன ம-யிலன மிசை-வ-ருமுரு கா-வ.ன-னி-ருச்-ர-மைலர-ுள் ontirely distinet, though tho differeace is after all butw of, no as to gire it a colouaing uf tho minor. omission of an F and an E, with the interval of n ripglo -mitono ! AEN. The subjolned example gives au excoedingly tonder and dovout JATA. It is idlo to aay they aro nliko; they aro poles wr-ct. version of the Muebetlo oupabilities of thia scale, (the words huing so GAN. Oh !give thom a short examiplo well seuptod to the munic, with thu merging,-"Have you comu in that othor Pontatonic val travimang all this distance, simply to protect me, my Lord I my life கா-2லை பீ-ர-வு.ப-க-லத-மெமை கா.வான்-டிமையெனவடிய the divine HAMSADHVAN umb hna its 4th and 6th omf'in the deacnaing o f of the Greek storf ViDu. What'r sho usn, trion fur Antipholua l VAIN Na go by ra ine and reaain. (Singa) zerving time and aeaeon : -py go by whim or whifde zied by wind or r hir:ic! na- da - chi va - chi - ti VAIN. Noto particularly that the sound-nu.ne is intorwoven with tho words exactly at the atrungest accenta, while the frst note of omn iti they always followed'a sy every group un which the socondary, accenta fall is a G .. It is Lis sad Order, und wnalysy tbis that adda all the charm to the exeoution of the piece. 11 fonnd that they coule- Vinr. Well, nll I car eny is that tho composer has muddled tho two true to their

L- ca-chi vo . nonnda of tho lotter @,-G and K,-and interpolatod them with tho Satice to the

words vory adroitly for his purposca .. JAT4, That is in accordance with tho genius of the Tamil langnago an l - ghu na ya the practico is universally admittod to bo unobjoctionable. PIA. Who would havo thoeght that this pontatonic scale,-in its phre nnd simple form, without any meretricious imixture of the forbiddon E notes or aurreptitions gliding into allied keys, iras capable of auch, diverne modea of treatment, not dreuint of in our philosophy ? MAn. So you will find everything else. I shall now procood to give instancea i ga ha gou

of a few more purely VARJA ILAG AS to show what an ouormous differ .. da Nanu pa . lim - pa . nadachi cuco in tosthetic eff ta is produced by the entire omisaion of cortain othur notos in the sgale. In the MOHANA which is the ooly Pentatonio Pi4 Good Leareesl how arouderfully well aro tha repented notos ecalo Laowa in Europe, ,yDu | rondered t Oue would judgo by aigut that the ropotition of tho notce bad the 4thand 7th (F and B) yu go ra va . ma lu ne vi

was rosoried to owing solely to the pancily of the notes,-two of tho omitted. In the followiog, reoit importunt (F and B) bes busbed from the acale, but tho SUDDIIASĀVĒRI, -- called 3 5 G

jtereoutiof of it is nimply divino! DEVAKIUYA, by the DIK- tos And the euccesnion of notos in the last bar but two, in which tio SHITS,-the 3rd and 7th (E poten edhoro sirictiy to the VARJA classincation has certiniy . much and B) are erpanged. 5 0 Ra greatercharm than qur method of uslug up the full conseoutive scrien Viue. " Those two Antipholus'-theae too so like, GAN. If there's anything in a name, and if tho Bard of Avon can righ: of tho diatonio or oheomatio notos. And theno two Dromiog, one ia semblance be callei & Swan, suroly this RAGA deserves its name,-so uoble MAD. I'll gire you an fpatanco of a moro lively and warliko movement They came into the world like brother and brotber, its gait, so discerning in its soloctiou of notea,-and so truo to t from the RAMAYANA in thie scale. And now they go, hand in hand, not ono before another." proverb .hat in sipping tho milk it sepnrates ntd rejects the wate: LAE. Yos; who was the "joyful mother of these two goodly sons, VAIX. Here's one more oxample-tho pupalar melody of the gre the gne so liko the other as could fot be distinguished but by Dikshitula .- VATAPIGANAPATIM. naines"? 1Gt time. GAN. Aro thuy indeed so alikol You as well say, Jupitor and Venus Bikshadap- pada '- ra durmirga varthaiga! yerkumo po. aro quito alike :- slight varieties of the same constellation ! VAIN. Compare tho following melody with tho othera given abore and ·ar then judge for yourzelves :- pi m - po - tim oba . hato

bin. 20 Fia

Rilahadap brts Katchivelenn

1i Tri - pu -ra Sun Va -ro

pirki - de inda Tatcit . yam pajgi yirka.do yun

lom Bhu do.

-.-.-

atchi citohi yanndai Fio. cha-ro-namn bhn ts pra-pan Tri - pu-ro

. Rakalada pads re. Sha . ra-nam 1t. To cousess the bones trash, torithor the abmenco of twro of tho TEoat important notes in the seile and espenially of tho leading i Tri- pu . ra Suu &c.

doth. bus the general contour of the molody leaves anytbing to bu V:oe. " Why, here begine my tcorning story right ;" Distinctions without doárcdgsh: tanic ie clearly deanod und thore isabsolutoly no tingo or differonco, illustrations witbout illumination, -- saadow of the miaor ecale le it LAV Eractly; what cartly difference is thero !

(II.LUSTRATIONS OF VARJA RAGAS Continucd.)

GAN. So fur you hare desit only wh acales, purely VARJA, both in MAn. Not alit of itl Whore elag can you pauso at intermedint halts, nscanding and descending. You ad better give them an bramplo with a soale ia which tho D and R aro cmitted ? DOw, whero u VIRJA scale in theAROHANA in iatarmined with a rouplele or SAMPOKNA scale inbe AVAROIANA. VAIx. Tho real pause ia not on the F, but on the G, which is our SEUT note, and in fet mout singurs closo Fin. MAD. Which shall I choose, wliore thie are vo many apd so good P Not thia tolody Bnally on the G, thuar tan

to diverge too far from the point lesue, I shnll seloct the NAnA, althoagh the corroot rendering is to BILAHARI which has the garne inlo ha the ordiuary Europoan ond not on the fifth as nhove but on Pratelinin (MOITANA) in ascendg, but all the seven notes in the Tonio, as shown below, and you'll Sarasara samarai

desonling as imnwu below :- hoo that the ending ia in porfect aPendiug:ith and Fth VARJA Desconding :- SAMPURNA aocordanoo with tho AROHANA Fin.

prosoribod for the RAUA, which, you will also obsorve, has a slight tinge of the VAKRA class in it. ika Bura g 3 56 .8 87054321 S. Itisn martial KAOA and thelasterpioces wo have in it are MAD. The socond melody in tho eame RAGA, which is so prayerfol and 81 - tam-mn innumerable. Tho simplest oxamplis the woll kuown SVARAJAT !. eweot, begins and ends thua: yam -t tia VAIN. Tho Oth is alno omittod in the following RAGAS, s a w hich begins and cuds thus: it is usoless to multiply instancos, I cannot bnt sing out tacir Fin for wy heart's coutent!

RAGAS in which the 5th or Panchamam is VAI Chen - ta - no 8A . da vun -cbu-ko-vay . vo Chon-to-no-on-

(i) Both in the Sarvangi .... ascending and 67 Sarnavatimi 55 descanding scales. Trimarti ... . 58 Kokiladhvani Ghantanamu . 57 Tôdli hle by niving them toge Ranjani .. di .. vun chu ko . vay ya Metharanjoni 15 Barbara ... Nirsuad.s . GAlas o eystem! Vasnnta ... 61

GAN. Surely it requires no ghost to tell us bow different the suvlo is numoda ... 66

scales are.idonticu Bhujangini 16 MAD. The third melody in KUNTALAVARALI begius as followa: Bhairavi ... 20 (ii) Only in the ascending scale ho duieronce lies proois II Hicdola Abhogi 22 Snddha Mcll

on may Igabre it ; bnt we can't. Suddhabhairar Bhinnapanchamam 3 Pphenadher: Srirnjam io the Roand just sung Natokuranj 29 Vasanta Bbairavi 14 A'there is in the descondu Ravichendrika f.alitapanchamam 15

tecalo In the one caw, yor ween IV ni ... 16 Amrupanchamam Jayantaers. Sottur in Oroum. Dharmani Saiudhavt

lown, down Bhognvasantr ... 51 Pphalamanjari ... 22 Puttari

ma la de li po alinaru &e. MAD. Iu common practico, melodiea in popalar RAGNS oa-h

PIA. The chango in rhythm imparts & semblance of tariety, but the and BIAIRAV1 aro sung in the main mode itael (whor

GAN. Now if you nunlyso carofutly she progression of notes in the etyle es well na the noles nre the same. are ad missible and in any order you like) and not in pbric: &

MAD. Surely musio of all kinds and of all civilised nations is mado with the rulea of tho derivative. RAGAS bearit; thoae ascending scale, you will be astorished to see bow vory atriotly the up of the 12 semitonic noten alone. Bat the difficalty is to produce which the Eth should be VARJA. omitted notos Fand B are erclided in the AROHANA, and how. variety within'the narrow limits circumscribed. VAIN. A few mastorpicces of the latter class however do es caturally they fow into tho AVAROHANA. TAIN. I'll give you an example in another of our fnvourite modes No. 16, looked upon as relica of a mosb precious charncter. Pra. lh .. do you acnonnt for the skipe from A to D, A to E and vice with D and B.fat: horo tho fourth (F) slone is omitted, it la s MAD. I'll close my illnstrations of this part of tho subin toreaY They are not pruvided for in your standard progression. MAD. We'll come to that when deoling with the fundamental Uawe and dolicions morset, and the RAGA is called-MrALAYAMARUTAM. RAGAS) with au examplo in the BAGA appropriato to,nll seasons,-called MADHYAMAVATI, in Modo No. 32, -* Rogulations relating to RAGASgenerally -i. e., rules connected with all our concerts are generally cloeed, as it is beliered to VADI, SAMVĀM, VIVĀDI, ANUVADI, &o. sinister effects produced by singing forbidden RAGAS in u: Viut. But givo ns juut an iukling into those things, as wo proceed., hourt. Note that in this melody-moald, tha 3rd aud Cohl VAIS. Brielly stated, leapa are admiasible from any noteto ita fourth lor . VII or fifth, ur to aay cl the SRUTI notes C and O. Vion. How about the asceot from A to B at ? NAn. This illustraten an exception to the general rule, which permitn n light touch on the penrest forbidden note abovo asd an immediate return downwards. ma -na . au- ye - tu - lor - tu - no ma-na-sa - ye-tu GAN. A atolun kias, In fact, with a hall-hoarted step forward (and genorally with a soml-tonie 'nceidental), followed by n precipitato retreat backward | Deprendi miscrum cat, you know. JNYA. All this discussion about the correct progression of notes in a ecalu is hors de combat ! lor . tu-no :0 Man Let as now go to other modes besides the 20th or tho natural key: taking No. 28 with!B flat, tho frat VARJA RAGA Shat suggests iteelf to mo is KUNTALAVARALI, th Reconding and doscending Bcalca of which are as follows: AROILANA. AVAROHANA kevo

Jor-tu - ne 0 ma-ns-ah-ye-tu lor tu- no

6 7 6.8 8 7 6 4 with the I and Fomitted. Thore aro 3 simple melodies by TYA- WAYYA in this RAGA, oach of which is a monument by itsolf, ma -na - vi - o provim; hix groat skill jn divorsifying his mualo within tho limited rpuources nt his commeud. Tho Erst, whiuh bogino thus, 19

GAN. What a treasure-trovo this is! I nover heard it beforo! Sara Eamarzl ika VIDC. Why'l it is as wuird and witchliko aa the wildeas of whirligigs! PIA. It ia quite a cariodity, I admnit ! MAD. We have sevoral scales with the fifth (G) or Dominant omitted, and this being one of tho Tundamental or SRUTI notes, we attach a kova - H .- Chohi

special interest to these RAGAS. "The following erample in the GAN. Ah! if Naturo bos implanted in me any innate a sa - ra - dhi-mn . da - vi - da - - ra RAGA called LALITA, vdll givo you au iden of tho atylo "old farallinr faces" of my dearest kith and kin, it 1 hes deliberately been put into pucka Kuropenn atyle and in as livoly lovoly face of this beuutital RAGA, which I can rocogn: aud apiritod as can possibly bo inngined. it atands unveiled boforo moit

Pi. Why, man, it is simply a molody writton in tho F Major with tho VAIN. Noto that in all the four asoonding okips in t th as Tonio! it is junt tho samn neale un your 20th Mode. 34 0777 Jeap is alvays to tho fourdr note above.

(is E veite ! You'll over bn " Old Op alus still" and 'Lia always thun PIA. How thout the stolon kisses betmeen tho End

"thaen srrara rara arien !" Praludlong uhtn taking peaneasion of your Bth bar? VAIN, That's a npoolni diepensatlon, snctioned on a.ei

where tan Touie lioe! It is F and not C mã . yain-mu Stt - ra.mq.lu stan. We will come to all thie br and by.

217 TOTAL NUMBER OF VARJA RAGAS.

Tal wait n bit; ou closelyzexamining thik seale, I find th VAIN. Tho moment you loso-sight of this immutability of slandar Vaiy, Noto howorer tbat your tiosposition devico can be appliet is practically the ramo de the- fral Pentatonic icalo you Earo of, pitch and nou-trausferribility Tonic, which lio ut tho bottom of ouly to tho O purely diatouio mlos. I defy yon to try the trick N MOHANA, but with Palates tho Touic insteod of tbe'C. 'our entire theury of music, yop ro ont at sen! with any of pur fuvourito modesb, 16, &c., or thoae with F sharp. MmWhoreas your constant, chonge of Tonio, in what you call Modula, LAK. Well, lat un ndmit for ono pmont thnt the ominsion uf vertaln For, wbile yon tion in yeur wostoro muwio, fardtterly revolting to us ! road it Lbus, PIA. " In the Seotoh bagpipo of the prosont duy tlio music pasees from uoten in tho senlo as a mutte of prineiplo is, oven if unt of gieat

miuor to rolntive major and baek without the lennt rogurd for tho solenlitie importance, at luast usbjectionnbie iu thoory.

tonie and dominant dronus of the origiual kuy, which continuo to VIDU. On tho lack.eye, luok-var, lik-leg or lack-lustre theers souil." (Vidu WeGh Music in the dictionary.) PIA. Wo'll even grant that thoro inomo sense or sciontifie meaning in I reod it a VAIN. This provos how you peoplo of the wost inyariably mar and it. Now tull us how many RAGS you hnvo of thia olans, -. VAIJA? mutilute what you borrow or steal. from us. Our SBUTI notos VIDU.' Lot us preparo ourielves tr unothor. atuep and stendy Vindya. romain as constant as the Sun, throaghout the numerons ipvolutiona and evolutiona of modes in every one of our performances, dlurnal on-Himalaya cscalado where the 4ch and 7th are. omirtel as.in the MOTANA, instend of nocturnal or meridional, MAD. I nlready told you that if al the siz intermediate noles itween Tbe 3rd and Gthi, es you make it out. the 2 extremes nro taken, the Tnic alwaya remnining commtant, you i. You will'nover givo up yuur hobby of tranaposing Tonice. It ia LAS. I am glad to see that you pull one another by the board, whenovor you chance to come to this portion of the subject, but I cau't for will liave only one, the SAMiRNA or Hepletonie scnle, nud that precisels to avdid errors of thip sers tsat we keep dinning the Tonic into your enra'ca a drone in a baspipo or burdy-gurdy. the life of mie grasp, whero the difference liea! hia is tho ouly ono genorally rcognised in Europeun Musie. Vibu. Against tho 36 Gargantuns ud 36 Pantagrucls bestriding your lt is for this resson plao that E have taken good care to uttach to ViDu. I'm a dunce, by profession, but you'll soe I'll illustruto tho differr an sur lealiay koy-zigeatores this distinguishiny euce better than all of you, beroes of the Daucisd put togothor! uurrow Dravidiau isthiua! Wil, procued.

srebol, which is repested st tho bogioning of The Druvidian mode-mutation is like that of the Cameloon, which MAD. Taling ucxt, tho BEDAVAor Hesatonic acalce, with 6 nnea,

oresy piuce, eolely to romind you thas the. Toulc with its hend gnd body unshakon changes its colour into a 1000 you will find that you ceu baro ix dillorent scdles by omiting in

and Dominant remsio constant, in their normal Tdifteront but 'orcoedingly lovely huen. The European clef-matation succession nach of the 6, intermesle y notes between thn 2 .romes

ziositions of the nataral scale, nover mind how maoy sharpa and flats 'is like that of the Camelopard which, while retaining the colour and n E, then F, the: fe, theu A, shape of ita entiro body unaltored, lifts up ita head to overy of the ootuvu, i.d., olimiuating firg and then B ns shuwn in the amb mes of tho ore aro on tho stava. intermediato pitch op to 18 foet abovo the lovol of tho ground! omitted notes alune rro iuae o tai a a k of th trion for. capial

Ascending scales. (Applicable to all tho 73 modcs.)

aorthey alkuya foHowcd a i sad Ordir, and amalysi foured rbat they could .G

Desconding soales. (Applicable to all the 72. modes.)

D

By jove, what a revalation, this ist what a truly beatino vision! T LAR. Skittles! Why not omit your C-and crente a fow, more scalos PIA Let us proceed. We have done with tho SHADAVA class, or IIezn

uok here, now, I won't.let yon proco yon procood until you tell mo all you VIDU. Sans honde, eane tuils,-sans fyi, sans scales; Nor whales, por tonic scales. They aro an interosting group certainly. Let os s00 nor awbalos,-nor males nor femalca. whateths rest uro like. now about cach and every ond of thom! MAp. " We'll now tako the noxt class At DAVA or Pentatons-with only But that must be resorvod for tho body of our resesrcbes, where VAIN. Oh ! for goodnoes sake ! pierco me not in my vital parts l .. Soale e sball discuas tho merite of each BAGA, nide by uide withthe stan- with the dominant (G) VARJA, are themselvos a unigauce to our G potes. Hero the number of scales growa boautifally loss, you wilt soc, as you tako away ovory two nutes in succesoion, thus : and compositions in ench. Oh : let me kuow at loast their namos and seo thoir faces, ono and TINA, in which tho 3 side strings keop spunding the c, g, o at every strong boat in a measuro, and to render our-theory consiatent Begin with D; you havo 5 scales, i.e:, omitting D, E;D, F; D, G; D, A; D, B;

of them for merey's sako! .E; with oar practice, we havo to uustring tho contral wire whloh E, F; E, G ;. Ę, A; E,B; F, G ; F, A ; F, B ; At the end of this Prelude, yon will find tbe pames of all the G, A;G, B: AGASoin which those progremions occor, duly classifed and sounds'the g; but take tho o and c'away, aud take our life away !"

bulated for coovenienco of Tale VIDD. Oh, in that caso, you say, it would not bo a laokilustre, luok-oyo, A. B;

lack-ear, lackdog or lauk llinb soulo, but u laok-lifo scalo! That is to sny, you huvo 15 senlon -which ato written down bolow on the samo principlo as beforu.

Ascending scales. (Agplicuoh to al the 72 modce.) modeé

DE D A BBA

EF A E B AG A E A D

12 10.

FG "A F B G E GD 13 t

GA G FE

AB ED

a glorious panotamic viow ths is! and prt Gav. Alas, alns, slas, lifo is tne ahort, too short, Gond Hoavons, too shorb for us to enjoy one milionth part of the rich blessings Thou hont 1 hul the age of Mithuisala to gaze givon tn man, nnd yct non cal jui cogitet. tecoming veneration ; I'd forget all the Vinu. Alas, alns! alas l Gooll Hcarons ! What idiota it is possiblo for Thec and live in ovorlnating blime! to creato ! I mnat ory with Cordelin, that iny love and gratitrdo to 1s ti - tos. BO COF me . nm ta ' play these fentaatic triky before high Theo for giving us thoso rich blomings ist nofhing, KOTHING Iw weepL Yon've nlrendy forgotton your NOTHING1 -- increnaing in nothingnoss by geometrical progroasion. e vaponr from tho top of a taper, you'ro LAx. That's what I hnve been aaying all nlong ! Ignoranco is blise. Now, ing like a seraper, ... . de yay knuw J mnat simply go back to achool or return to tho nge of fifteon, if I Dica, Doiee, Dawn, Dow phe goes nun to uuderatand all this, but procood, nasuming I do. Vinu. Ualito Monsicur Jourdain and his Inck-lustre-Latin, ho'll tako Lo - tum Quin To con - it all is lucid as luena a nou lucendo or ca luco luceltum; VAIx. Note however that 481 ia the number of RAGAS, possiblo in ench mode: for tho 72 modes, you get 72x 484=34,848 RAGAS in all;

full .of and this, mind you, of tho VARJA class alone. woes, down he goca ViDe. I mentioned the multiplicntion of mice as their model for tho mmufacture of their modes; whnt shall I likon this to; the luxuriation templaue do a-cit to tum Quia

of lice in the lairs of their loafers, or the vivinication of vice in tho wombs of thoir wenches?"begions," "Locusts"all lack in the balanco. Man. I must note howaver a correction in the nbovo enleulatiou, which ia tho ono ueually givon in indigenous trentises: for, as wo recogniso 3 variotics in onch of tho 4 notes D, E, A, B and 2 variotios in F, the con-tom-plaas. to . tum de - fl- cit tum own, Down, Down, Down, he gots. aralos whinre thesu notos aro omitted ought to be identient in soveral Th Brmense scope for variety pir dluced hy of the nendes and a lnrge reduction shopld bo minde: exprossod by VAIN. Noto particularly the rapid fight nt tho end of tho last two

lng erales, and che nuch udo of comli- brief algebraival formula, the numler to ho reduced is :- variations in oxact conforinity with the AVAROIANA.

e Le nixing them tagether, fuc herein lies This woald leavo 31,848- oF sealeg in all MAD. .I shall now give a few instances of the MURCHANAS usualls

Gax. That is to say, taking into account euly VARJA scales of the quoted for some of our VAKItA senles necording to the popular ver-

Era adles are ilentical wai the ascending. SHADAVA and AUDAVA classes cumbined with one nuother and sions. Venkntamakhi's formulu will be given in tho body of the work

the SAMPURS A clins. But this is not all GAUĻI PANTU. MODE No. 16.

hut the difference lies prerisely in the LAK. Whet other unscen shonls or quicksandx have you in storo for us ? Le mas ignaro it ; but wo pan't. Lc gues" in the lound just sang by Vin MAD. I pass over for the p.esent tho sculos with only 4 notes (SARV. ANTA) and leas, as thoy are not recognised na senles propor. virtne thorr is in the demcendling n VAIx, Asn mntter of fact. thero are only a few RAGAS which consist ceetiting seale In the one case, yon cu th of 4 notes, and this onlg in ono direetion, i.c., eithor in axcending or in descending, aud when combined with oiorescomplote senles, in the KANNADA BANGALA. MODE No. 20. in the other, Sc tur in Oinm. mhre all huriei -down, down, nt the vury. opposito diretion. keie lies yomr GREAT 'C, -thu foundn-

am yeu make with tiro of thu woven notes VAKRA RAGAS.

ia with all sorts of sharps end fats P Man. But Ihave: t to denl with the VAKRA ciaas, i. r4 scalen which do BINDUMALINI. MODE No. 16,

ASHOGI (popalarly classed under modc No. , not proreed regularls with the notes in consecutiye orler as in the peusabie Duutiuant and Le aling note are both foregoing instances, but form na oblique or sigzag progression, F. 2 beautiful molodies uf Tyugopga in this producing speeilly chnrwing effecta, n ... possible in the other classes. nhich opens literally with tho proseribed PIA. What specinl charm can there bo in un udmittodly oblique or IECHANA zigang scale P Jn the nocient Plagal modes, the only difference was MALAVASRI ODE No. 22.

Al.A in Mode No. 8 with 4 tiats, bat with that three notes wero bodily remoted froi the top and placed at the sed: the cxact countorpart of your European bottom of the ecale, so thac the melodies ranged from G to g instead (our MOHANA in No. 28). It is one of our of from C to o. This was a question of mero compass or rango and marly morning worship. hns rightly been iguored in modorn Music.

tint or not, the syatera is certaiuly complete, VAIN. Oh! no, our VAKRA acales proceed upon quite a different KANNADA NODE No. 20. roughly consistent with the requirements of principle,-far more exalted, far more scientifc, far more interesting. the remarks of Sir Willinin dours, " Tho Hindn VIOL Shut ap there now I to the point. I Leliere, Leen formed on RU ER principlea Nxp. The proyression of notes in a VAKRA scnle is rogulated mainly by the oxceptionally pleasing offects which their particular succession . Sudgment and from one, whu is by far the iu a particular orler has by oxperience been found to produce upon cs respoct tho preatest of Judges, thut ever discerning etrs, varied ax it is for cach mode. RAGULILA

u tho highest Bench of the Supreme Court Lax. It's all Greek epeak in English or give nxamples.

ou have yet seen ouly tho pussible number MAT: I mest rofor yoo to the Music itself, as no amount of explann-

S, tokiqg nch clasa of neales by taelf, te. tion can throw as mach light on the mattor as a little study of the

I ascouding l Lresconding unceniing and deaevading penlen proseribed for thene RAGAS nnd the wrtistie mannor in which they are applied in practico to the actoal RITI GAULA ODE .. 20.

eumpositions theinselves by the masters of the style. 15 Gas. Give them thou the AROHANA and AVAROHANA of a few of

nocgs for a whole gencration to digest ! the most popular of our VAKRA ncales, just to show_ what they are like. I mean the prescribed formnlo called MURCHANAS. rond prrfect ang to givo due prominener to ANANDA BHAIRAVI. MODE No. 20

raud daun junt roferred t. yon munt com- MAD. Very woll thon, Int us begin with Modo No. 15, the mort popular

ndng with the 22 descendiug seules, ny shown of all; for my part, I partieulorly like tho SINDHURAMAKRIYA

n.ahing a total of 481 for oack wode, which Iuathemutical fermula would stand thun; 3+0c4)2=(22)7-451 MAD. If you closely analyso that magn. icent Gregorian melsiy, Diet

nrer of uotes in the Doscending in which the D fintis entirely VARJA and the doscending soale takes Tra, you'll be astobished to find how closcly the progressiou of notod senle or AVAROHANA. Totnl a peculinr shape, VAKRA which is woll brought out by the froquoht te adheres to the MORCHANA of the last mentioned BAGA, ANANDA

(5) number of BHAJRAVI. AUUINA senles repetitions st d in the sab-joined melody :- IFURNA SHADAVA VIOL4 Yes: It is well worth analysing the best mediesal ecclosiasticat Heratonic I molodios, side by side with your syatom of Derivative RAGAS. uotes. 3 notes 5 notes. enrh mody GAN. We'll do that by ind by. MAB. E/must However mention that sereral of the progressions abovo 6 ro To do - ro-to la - tens Dei .tae, iudteated nremnot quite nccurate or in accordauce with the RAGA 22 PRAKARANA of Venkatamakhi. It shall be onr endeavour to ad thesc Hight, when we enme to the Anulynis of each RAGA, by cour

F20 paring the molodies of all our standard composers. 132 Pis. Now then for the total number of your VAKRA RAGAS.

A - VIDU. You inhy as soon count the stars in tho tirmamont, the saods od do - TO A - do . ro Tc VO tho seashore, or tho drops of water in tho Ocean, us seek to know the 00 nctuni namber of their RAGAS! MAD. . I told you .that you get tho net number - nasuming thet the T notes are taken in serinI order, without direrging from thoir regular 132 couruo. If yod ohange tho notural order of the notes and place them la - tons Dei- tas, Qur sub nis 1 - Ku - - ris ve - TO In divgrao poaitions, ns a mattor of priuciple, e.g.,

OPINIONS OF THE PRESS.

Ectrnel from the MADRAS MAIE Ertract from the THEUSOPHIST of the 29th Murch 1893. f February 1893.

ORIENTAL MUSIC. ORIENTAL MUSIC IN EUROPEAN NOTATION. * Mr. A. M. Chinnnsawmy Moodeliar, Master of Arts of the Madras It is not generally knowa, ewher in India or Europe, how far University, has, with the expenditnre of much time aud money, suc- India's music could be utilised to suit the requirements f Western ceeded in reducing the chaotic state into which Hindu Musio had fallen, taste. from the want of a systom of notation, into something like a state of order, and he has managed to oxtricate the " priceless trensures and the This is owing to the fact that hitherto there har been but Lttle spice-fraught bahns of Oriental Music" from tho "darkness of secrecy offort made.to render oriental music in European, notation or stave as and from the lalyrinths of intricney" by which they nro onenmbered. it is called.

To do this he has nvailed bimsolf of the European system of notation Although in the North much has been done to commond the theory, with all its symhols, and by dint of the greatess patience and persever- on which the different systems of Native musie are based, to the ap- anco he has produred a valmlo Mugnzine of Music which is to be preciation of Wostern masters, e.g., by Sir W. Joues, the father of tho publishod monthly, and printed, be it. noted, by Natives at the " Avo Asiatic Socioty of Calentta and renowned Sanscrit scbolar, but the Maria" Press, Poodoopet, with type aud plant specinlly provided for the credit of rendering Eastern music into European notation has been purpose. We have taken advantage of Herr Friedeuthal's presence in reserved for Raja Sourendes Mohan Tagore. Mudras to submit Afr. A. M. Chinnaswamy's work to him for his opinion, which we have much pleasure in reproducing below. It should be ob- In tho Sontheru Presidency, the prevailing system of music has served that during his tour de l'Orient Herr Friedenthal has made a been historically credited with having cansed the musical renaissance special study of the subjeet on which he writes and also made an exten- in upper Hindustan, previons to which the indigenous music had suffered sive and valnable eollection of Oriental instruments. The following is a temporary decadence, owing to the political convulsions cansed by Herr Friedenthal's note :- constant invasions from the North. "I am most thankful to you for sending me the Periodical "Orien- Despite this histprical engrafting on the music of Northern Hin- tal Music" the work of u most meritorions man A. M. Chinnaswami dnstan of the old stem of Dravidian miic, a fact vouched for by able Moodeliyar. I am sorry thnt I could not mako the acquaintanco person- historians, still in many respects the Northern music is as different from ally of the excellent author althongh I made grout efforts. It seems also the music of the South, as either of them is from that of the West. that by the Miodrns pnlilic in general it is not well-known that such a work has been pnblished quite recently in the City. The merit of this But.for all practical purposes, the music of the South has hitherto work cannot be esteemed enongh and I shall prove it by the following had no votaries to put forth its claims before the musical world of the reasons. All works existing in Europe about Indian Musie are mere West. theories, and most of the writers have nover hoard a sound of it. Thus Indian music must he described by them as cold and without enthusinsm, The almost insurm rriers of the opposing difficulties have

and it will therefore never cause enthusiasm in the scholar or reader at last been overcome by the unaided efforty and indefatigable ebergy of a single individual, In the person of Mr. Chinnaswami Mudaliar, M.A. but a mere theoretical interest. Iudian music described by Native anthors lacks nguin in othor wnys. It is surrounded by the whole mys- The enlightened stientifio musical public is now afforded a much ticism of their country and is in consequence almost incomprohonsiblo nooded opportunity to iake a beginning in the study of the Dravidian for Europeans or say for people with their brains cultivated in our School of Hindu Masic. fasbion. Even the highly valuable works of Sir Mohun S. Tagore make only an exception in certain cases and can only be studied and compre- A monthly journal entitled " Orientnl music in European notation! hended with grent mental offort. Now the werk of Chinnaswamy makes is placed within the easy reach of the pubiic under the able guidance:of the first great exception and will, when known in Enrope, cause quite a the gifted author just named, and will be found as attractive in its " get sensation in musieal circles. The author is evidently not only thorough- up" as in the matter it contains. ly versed in his native music, but has a perfect knowledge, of Europeun music as well aud has taken the trouble which cunnot be too highly It now remains to. be seen how the practical cxecution of the

appreciated, ta "translate". lis music into our own, and overy body will Nntive musical pieces as annotated in the journal would affect an unpre-

find it cusy to pley or sing Hindu Music after Chinnaswamy's notation judiced ear ..

precisely like the original on the Hindu instruments in regard to " tempo, measure, expression, acrentuation, nnances," ete. His explanation in It is presutned that a few musical entertainments will shortly-be the toxt av also of the grontest value, at least in most cases; he endoa- given from pieces choseu out of the new journal in order to appeal to vours to develop thoughts in a form we are used to and so his explana- the public discernment as to the success of the undertaking. tions willleasily be understood. In a.word-through Chinnaswamy's work Hindu musie will soon lase all tho mysticiem in which it has been At this experimental stage, if the performanco were to fall short of

enyeloped until now and will open our ears to a new world of henrty the public expectation, yet we hope it will not fail to servo at anv rate

and diep sentiment. If I wonld make mny review completo, it is only as an incentive to bring about the desirable object of leading people tor

left for me to mention certaiu defects * of this periodical. The just men- listen to the Dravidian melodies as set to the scientif harmony of the

tioned explanutions in the text are not alwoays vory clear; now and then West. Music has oxorted a great influence oyer the countries aud.

the Hindu mysticimin is provailing and in vain do we try to unvoil its nations of the world and there is something distinctly national and

meaning. Therefore I daro to advise the author to revise his work claracteristic in the dadence and harmoty in vogue in different

togother with w Huropean minsician and scholar. There are also very countries. No country should allow its masic to die out.

many misprints, and, it is known, when n misprint is not immedintely recognised as such, it often causes great confusions When these defects It was for want of syatematiceffort that it has not been hitherto

. are nmended I would recommend to subscribo to Chinnaswamy's work possible to perpetuate the melodigis arrangement of tunos of performers.

not only profoned seholars, but also amateurs of music, and I am suro of genuine style, who, in the gurse of nature, are fnst fading away.

that its easy study will delight them and that they will mako themselvcs Europeans have by their researthos into literature, history and antiqui-

meritarious when retarning to Evrope and rendering their knowledgd ties of Indie brought to light rich treasures of oriental thought and specu-

to their frieis with tho enthusiusm of persona who have heara lations, and in like manner dindu music with its subtle yet scientific

Indian mucie in Indin and studied it theoretically andepractically." modulations, notes and hormony has an equal claim on the attention and respect of the Europein mind.

• Thie wst writton botore tho Introduction was published By A 1 fnmenswamy. Mudaliar, M.A., Fudopet, Madras.

OPINIONS OF THE PRESS .- (Continued.)

There may, be found in India numerous porsons supremely eminent Extracts from Letters. beth in the theory and practice of Hindu Music who cun never conceive che idou how musical sounds and tiinog could bo exactly oxpressed on I havo to thank you for the copy of Oriontal music, first issue, the paper with pon and ink. porusal of which has given me unmixed ploasuro,* Tho systoin of erotation na givon in Suusorit is unsuited and hardly in which the number has been preparod seems admirable. * * * the way

ever pragtised; it is thereforu dosirable that the European aystom of Kindly ourol my pumo an a subsuribor for your muuthly poriodical. motation (wich additional eymbols whoro mecessary) which is universnl, (Signed) I. B. GRIGG. should buadopted throughout the country. Unusual pressure of work alone prevented me from acknowlodging Wo winh every success to Mr. Chinnaswami in his valuable under- up to this day your kind present of the First Issue of your work ou taking. Oriental musio. It is by all means a great undertaking, attended, I may suppose, with such difficulties as might discourege any othor but Mr. Chinnasami's taleut and perseverance. I hope the obstacles will Extract from the CATHOLIC WATCHMAN be overcome one by one as they present themselves and that ono of December 1892. day not very distant, I shall have to congratulate yon for the happy tormination of your artistical monument, arc perennius. 1 wont through your first volume with great interest and for the first timo in "ORIENTAL MUSIC." my life I got an insight into the peculiarities of Indiun music. It wus a rovolntion. Now I see pluinly enough whence comes the spocinl We have much pleasure in acknowlodging, with many thanks, tho intonation of your musical sontonces which sounds so strungn to a first issue of a menthly periodical entirely dovoted to the preservation European ear which hears thom for the first time. In fact, your modes and publication of Oriental Music. This number contains a large vari- have some analogy to the Roman or Grecian modes and I suppose that ety of indigenous, populas songs set to European notation. This is u if an old fellow of the time of Homer could be called back to life and step in the right direction and a decided advance in the Oriental fine mnako a tour in India, he might recognise in these Orioutal tunes some art. The words are given in English, Telugu and Tamil characters, echo of what be once heard on the Lydian flute, the Barbitos or the thus placing this valuable production bofore all lovers of music. The Tortoise shell. It seems to me, however, that the Indian modes are talented. author, A. M. Chinnasawmi Mudaliyar, M.A., has bestowed by far more numerous than the Grecian which were only seven. much care and labor to make the periodical attractive, and he no doubt doserves the thanks of all interestod in the preservation of Indian When the European composers havo oxhausted all the resources

songs, popular reels, jigs and ballads, etc., which otherwise would which their two modes,present and those of modulation, your work may

remain unknown. Price is 3 or one anna a page. suggest to them new springs where to draw from. It is what Reinach says somewhere in his Philology " Musicians will soon be compelled to take up the old modes when our tonality, which is so limitod, has yiold-

Eztract from the CATHOLIC UNION ed whatever it may yield, and the day does not seem to be very far off." Now I have bestowed compliments, which are genuine and woll of December 1892. deserved, I may bo allowed to bite, only just a little : Yes, ..... when one does nico things, such as no other ever did, one must print the nice things on'nice paper; or else there is no match : but you OBIENTAL MuBIc :- It is with much plesure we have to acknow- give a paper * that cannot stand on the rack of the harmonium ; again, ledge receipt of the first copy of the above periodienl published in why is there no margin t worth mentioning, on which the eye can rest ? Madras, in the "Ave MAutA Peess," by Mr. Chinnaswami Moodlier, a.A. The periodical contains many indigonous songs set to European notation. And why in tho world should you forget tho sorial t munbers, to doceivo us poor people? And why don't you give a translation y of the text, Mr. Chinnaswmi Moodlier, who appears to have bestowed much labour as though we could make'out your Sanscrit or Telugu or High Tamnil. and attention as will be evidont dom the get up and neatness of the Do you think we know all these languages? however, the text often periodical, deserves to be congratulated on the venture which is cal- assists in bringing out the meaning of the musical sentence. culated to give a decided impetus to Oriental Music. We wish the anthor every success, aud hope that those who love Oriental music This is the last of the venomous things I had to tell you and seo

will give the promoter sufficient enconragement which ho eminently how my steel pen writos them badly. Barring these trifles, the whole desorves. execution is well : your title page very good, the print clear and neat. As to the substance of the work it is all that can be desired, since it is easily understood.

Eztraci jrom the PEOPLE FRIEND (Signed) D. HONORE, R.J. I had the pleasure of seeing the prospectus of your Oriental music. of April 1893. I am very much pleased you have undertaken such a task. Native music is unfortunately and gradually losing ground and your attempt to revive it and to produce a taste for it among Europeans who trent it as Few were aware that Madras rejoiced in the existence of a notod monotouous is indoud pruiseworthy. If you nooomplinh all thnt musician of whon the great German Musiciun, now among us, speaks you promise in the prospectus it would pluco the native musical world in the warmest terms of praise. Mr. A. M. Chinnaswamy Moodelliar, M. A., of the local University, it is related, is publishing & monthly under deep obligation. Please send me a copy of your first issue by V. P. P. and if I like it I should ba very happy to becomo a magazino of music, being printed by Natives, His industry aud gonius subscriber will opon tha charms aud terder harmonies of Hinda music to tho (Signod) C. RAJA RAJA VARMA Enropean ear arhich was hitherto incapable of appreciation and regarded Oriental notes as dissonant. The great German musician . Bad paper .- This is a general complaint; but a stout apring portfolio with a praises tho author as a "most meritorious man." He recommends tho thin rubler strap for holding doyn the paper will bo suppliod to sach as deairo it, in periodient to the Madras public. Ths should have the desired result order to presorve tho issues os thoy como in, until tho wholo can bo bound together in

as the critic remarks that all "works in Europe about Indian music onu volumo lator on.

aru mere theories" as authors "never leard a sound of it." Ho thinks + Small margin .- The anxioty of tho publishors in to supply the public with tho

the work of Mr. Chinnaswamy when kiown in Europo will "cuuso maximum amount of muslo within tho minimum amount of npace aud cont.

quite a sensation in musical circles." After4his it will be folly to persist t Serial numbers and pages .- These cau caly be givon after tho work has progrorwed

in saying that Hindu music was neither fit fq gods nor men. boyond a cortain atage, the object being to bring all the melodics in tho samo RAGA as far as poasiblo ltogethor. S Translation of the tezt .- This will be given in duo courso in the alnpo of addoudu; at prosont it has boen conuidered necessary tu confino attontiou to the music itnelf.

OPINIONS OF THE PRESS, &c(Continued.) 222

Estracts from Lotters. Eztracts from Letters. Mr. Chinnasawmi's ondeavours are beyond all praise and are of a I RETURN with many thanks the proofe nnd specimens you so kindly worthy, unique, and eostly character, for which no other man, in nll sent me on Saturday. I beg that you will omit my name, for, though SoutHorn Indin is fitted, and his attompts are such thut, for the first I should feol proud t see it in such an admirablo work, I havo been time in the history of our Hindu Music, our great authors will be unable to render you any material assistance. 'I have found it (difficult* preservedand revived (else it has been and is doomed to extinction, to understand the systei of seales and above all of rhythm, but I think and foreign nations have no means to carry an idea of our music into I have a fuir idea of both now. When you say 54:2+542=14, does their countries; but on the other hand they mock us). The true terival this mean that there must bo 14 semiquavers, or may thero bo their of our national music is now, and. I am nfraid it will end with, Mr. equivalentt mado up in any way as in onr notation ? The arbitraryt Chinnnsawmi. No other man 'could or would make up his mind and manner, too, in which flats and sharps are, introduced leads me to dovoto his time, energies, money and his heart than he. tink that all , the numerous scales? with thoir variations must be He has only been able to get 50 subscribers, moshof whom are cominitted te memory. You havo made this possiblo by committing Europeans and it is European Gentlemen like the Resident of Travan- them to paper, and bolieve mo when I say that I look onyyour self- core and Revd. Lawrence that are encouraging him. So far you Bee a imposed labours with the greuiost admirntion. National Nativo Cause has not reccived support from Natives themselves. "THE MADRAS MAIL," This lends me to the reflection how far other causes than native and

June Gth 1893. (Sa.) W. D. ST. LEGER, launched by an European, natives are willing to extend their support, and for a native enterpriser, what apathy is displayed !!!

Replies. Dr. Sonrindra Mohun Tagore did so much in the Bengal side, and hero is a Gentleman in Southern India, who has risen up once in this . Full oxplanations will be found In tho Introduction and Iustruetion book, which century like a very "avatar" to immortalise all our masters, who, but nre furnistied with tho first issuc. for this gentleman, were slowly gliding away into obscurity like many + Yes, tho figures merely indicato the nctunl number of units or measu in each bar und period ; their oquivalenta may be substituted at will. -notes masters bofore them, whose very memories are, not preserved us for want of a written record./ Is thore a singlo song now of Ancient date # They aro not at nlI arlitrary, Lut rathor ovor-mothodical and systematfc: oide Addendn on puyn 17 of the Introduetion, Those which might seom most anomalous and (romember wo have had Music for centuries) to romind us of many. eccentrie to European eyes were purposely aelectod and lumerted on tho outor covor to? Mozarts, and Mendelseohns likc Europeans ? To India's disgrace, I say attract attention; hut a glance at the lables of Malakartas in the Introduction and "No." Evon Tyaginh of recent dato is mutilated and murdered accord- the Instruction book, will show how logically and scientifically the modes are arranged, ing to the whim of enclt gongster, and in courso of time, ovon this rolio and how complete aud perfect the scheme is as a wholo. will fade away. Can any thing else but Mr. Chinaasami Mudaliar'a at- tempt and method preserve onf nationnl art ? I say a sorrowful"No."

Krtract from the EASTERN GUARDTAN reprinted in the Monies are freely given for a song, aud what does the preservation of a song for ever and a pride to us; and to other Nations, deserve, you MADRAS MAIL of 3rd August 1892. think ? I wish I had timo to show you practienlly, what<a gigantic, dimeult, and unique work Mr. Chinnasami Mudalinr has undertakon,

THtERE is nlso nnother element in the devolopment of music in this and how much sympathy and help he needs to give him the heart and

country which, promises to widen the feld to create ar increased de- courage to go through his long programme. . Bat I ai suro I haye said

inand for teachers of Music in Indin. An enterprising Native, with the enongh.

abilily and means for carrying out his work, has established a Music What cau I, or any other individual do? I havo subscribed for 6

l'rinting Press, with, the object of publishing u Monthly Magazine of copies instead of one; and I can indace'a few of my friends, most of

Ilindu music reduced to European notation. The project is the first of whom nre strangers to music in the present shape, and are just ft to

ita kind, and is like the invention of printing in the history of Eastern go to a party and listen to o fow songs with an upprecintivo or showy,

Music. At present the Hindd has first to hear a tune, and be taught nod? No further has onr society cultivated Musie, neither as a science

like a parrot before he makes it his own. By the help of the European nor an art. Hefe lies the difference between our society and the Euro-

notation, he will bo able to sing hundreds of his national airs without peans. And Europeans are besides so ready unselfishly to encohrage

over having henrd them beforo. The prospect is, dolighting to tho "fine arts." Now Maha Vaidyanatha Ayyar is dend and gono

Hindu, and the project of tho entorprising nativo will, no doubt, bo thoy are talking of perpetuating his momory. Think, conld there be a

crowned with success, and incidently open up a wider rango of employ- bettor opportunity for doing so than placing all his work at Mr. Chin-

ment for the Eurasian in tho musical profession. While gazing on the nasami Muduliar's, disposal ? This way, 1000 yenrs hence of as long

prospect before him in the direction indicated, the Eurasian must not as the world lives, Maha Vaidy's namo will be on tho lips of amntours

be unreasonnble in his expectation, but remember that we are on tho. and professionals. I am writing to Mr. Chinnasami Mudaliar to pot this

ovu of n dovelopment, and thut all progress to be suro must necessarily iden into tho heads of Vaidy's admirers.

be slow. " Let me congratulate you in that your name is sure to be immorta lised in the novel ondeavour you have hud the resolution to pnt into

Eatracts from Letters. practical effeet, whero other men have simply shied. You will find qrities pronouncing your work imperieet, &c. Ask them to do it better P But this need not deter you. Whilo life endures, leave I am very sorry to learn that Mrs. Chinnasawmy is still in a bad state of health,,and that the gigantic business you have undertaken your memory in tangible shape to posterity. So plense push on."

hay been another source of considerable anxiety to you, I wish I were "Remember yours is a national, monumental work, and always with

u MAHARAJA to get you over the lattor difficulty. Being only what I perhaps rare exceptions, such work was done by a genius single-

at, I cun only sympathise with you. handed."

(Signed) R.AY. SRINIVASA AIYAR. (Signed) A. GOVINDA CHARLU, (Executive Enginetr, Mysoret)

OPINIONS OF THE PRESS, &c .- Continned. 223

Ectruct from the VIVEKA CHINTĀMAŅI களை வரிசையாகவும், ரூபகதானத்திலுள்ள பாட்டுக்களை மற்றொருவரிசையாகவும், of May 1893. அப்படியே அந்தந்த தாளங்களிலுன்ள பாட்டுக்கை அந்தந்தப்படி வரிசையாகப் *பிரசுரித்தாற் படிப்போர்களுக்குத்தாளம் நன்றாய்ப்பிடிபடும். சில கீர்த்தனை பிராசீன கானம். களில் சிட்டாஸ்வரங்கள் திணிக்கப்பட்டிருக்கின்றன. இச்சுவரங்கள் கவிதாவினாற் செய்யப்படாமல் அவருக்குப்பின் வாழ்ந்தயாரோ ஒருவரினாற் செய்யப்பட்டுள வென்று சொல்லிக்கொள்வதுண்டு. அப்படிச் சொல்வதை பலபேர்கள் பலதினு சாய்ப்பாடுகிற விஷய்மொன்றே நிசப்படுத்தும். உராரணமாக "மரியாதகாதுரா" (வமந்ன பார்வைக்கு வந்த புள்ரகம்.) என்னும் கீர்த்தளையில் "பமபகாம"என்னும் ஸ்வரமுனது. இச்சுவரத்திற் கும், சிலபேர்கள் பாடுவதற்கும் பேதமிருக்கிறபடியாலிது கவிதாவினாற் செய்யப் இப்பாற்றும் விநோதங்களிற் சங்தேம் மிறலும் மனத்திற்கடுத்தது. இம் பட்டதன்றென்று நிதானிக்க இடமுண்டு. பிராசீனகானம் (Oriental Music) மண்டாத்திற்கும் வின்னுலகத்திற்கும் காரமாயிருப்பதும், நன்னடக்கைக் என்னம் புஸ்தகத்திலிருக்கும் ஸ்வரம் பின்வருவதாகும் :- குரிப நணர்ச்சியைப்பயிற்சிசெய்யத்தக்கதும், இவ்வுலகத்தை மறந்து மறுஉல கத்தை யெண்ணசசெய்வதும், நம்முடைய நிகனைவுகளை மனத்தை விட்டுப்பறக்கச் செய்து விண்றாலகவாசிகளாகிய அழியின்மையோர்களுடன் கைபிடித்து உலா மகரிஸநி-தநி-ஸரிஸாநிதபா-மகரிஸா-ரிகம. வேறுவிதம் :- பமபாாம- ரிகமகாரிஸ

வச்செய்வதும், இன்னும் பிரியம், அன்பு, நேசம் இவற்றினையெல்லாம் அதிகரிக் நிதநிஸ - ஸரிகஸரிஸரிகாை- ரிகம-பதநிஸ -ரிகமகாமகரிஸநிதநிஸ-புபாமகரி-ஸநிஸ- கச்செய்யும் தருயியும் இச்சங்கீதமேயாம். ரீகம.

2. ஜங்கிலத்தில் டிாைடன் (Dryden) என்னும் கவிஞரியற்றிய அலக்ஸாண் ல்வரவிஷயத்தில் அவரவர்கள் மனோதர்மத்தின் வண்ணம் பாடுவார்கள். டர்ஸ்பிஸ்ட் (Aloxander's Feast) என்னும்பாட்டில் இச்சங்கீதந்தின் சர்தி நன் தியாகராஜையர் போட்ட ஸ்வரமானால் அதைமாற்றிப் பாடுவது உசிரமன்று. வே றுய் விளங்கும். இப்பாட்டில் எர்தெந்த ரசங்கள் பிரதானமோ அந்தந்த ரசங்களுக் ற்றுமனிதனாற்போடப்பட்டதானால் அதை இப்புஸ்தகத்திற் பதிப்பிப்பது நியாய

குக் தகுந்தபடி அலக்ளாண்டர் மனது வேறுபடும். வீரரச சமயத்தில் தான் மன்று. 1 ஐரோப்பியக்குறிப்புடன் (European Notation) ஸ்வராக்ஷரத்தையும்

யுஜ்கம் செய்வதாய்ப் பாவனைசெய்வான். சோகாச சமயத்திற் எண்ணீர்சொரி அந்தந்த ஸ்தானங்களிற் குறித்துவிட்டால் மிகவும் இலேசாகக் சற்றுக்கொள்ளப்

வான். ிருங்காாரச சமயத்தில் தன் மளைவிஸ்தனங்களில் விழுவான். இப்படி படும், நன்னடக்கை, நற்குணம், நன்றியறிவு, பயபக்தி இத்தன்மையான குணங்க

மனத்தை உருந்கச்செய்யும் சங்கீதேம் நகொலமுதல் ஜனங்களுக்குப் பிரியகர ளைப்போதிக்கும் சத்தீர்த்தனைகளையே ராகதாளத்துடன் பதிப்பிவிக்கவேண்டியதே

மாலவேமிருந்தவருகிறது, ஜூபல் (Jubal)t என்பவன் சங்கத்தை கொஷிக்கச் யொழிய "மிஞ்சி மிஞ்சி நடைநடக்கும்," "ஏண்டிகுட்டிதங்கமே" என்பனமுத செய்தபொழுது கேட்டிருந்த ஜனங்கள் நெய்வலோகத்து சப்தமோவென்று லான ஷோக்பாட்டுகளுக்கு இத்தங்கமான புஸ்தகத்திலிடங்கொடுக்கக்கூடாதெ

நினைத்து அக்கப்தத்தை ராதிக்கத் தொடங்கினார்களென்றும், ஸிஸிலியா ன்பது எமறுதுணிவு. |I (Cocilin) என்பவன் தன் வாத்தியத்தை வாசிக்கத் தொடங்கினபோது, கேட் 5. டிருந்த தெவதுதனெரு ஜனங்களுடைய மனத்தைத்தியாகராஜையர் முதலானவர்கள்செய்த எதனெருவன் மன்னுலகத்தை விண்ணூலகமென்றெண்ி யிறங்கி இர்த்தனைகளினது ஆகருஷணிசக்தியாலிழுக்கச்செய்த கருவியாகிய் பிராசீன கான ருென்றும், ஆர்பியஸ் (Orpheus)என்பவன் தன் வாத்தியத்தை முழக்கின பொ பத்தைப்பற்றி யாவரும் நிரம்ப ஆனந்தமடைதல் வேண்டியதாவசியகம். இவி மற்ற முது மாழட்ரைகளெல்லாம் அச்சுககரமான சப்தத்தைப்பின்பற்றிப் போயின வென்றும், ஐரோப்பிய மகிலும் அதிக கடுரே மனகள்ள விசுவாமித்திர பாகங்களும் (issues) நிர்விக்கனமாய்ப் பிரசரம் செய்யப்பட்டுக், கொண்டகரு

மஹாருஷியின் நேத்திரத்தைத் திறர்கச்செய்ததும் இவ்வானந்தகரமான சப்த த்து நிறைவேறும்படி சர்வஞ்ஞர்ரகிய கடவுளைப் பிரார்திக்கின்றோம்.

மஎன்றம், கைலாசகிரியைப் பெயர்த்தபோது சிவபெருமான் பாதத்தால் நச ம. சு. இராமசுவாமி ஐயர். க்குண்டு அவஸ்தைப்பட்ட ராவணும் விடுதியடைந்ததற்குக் காரணமும் இக்கர னந்தரனென்றும் நாதேசங்களிறுங் கூறுவர். Replies. 3.கொஞ்சகாலமாக இச்சங்தேம் துர்விஷயங்களிற் பிரயோகிக்கப்பட்டுச் சங்தேத்தின்பேரில் ஒருவிதமான அசுயை ஜனங்களுக்கு ஏற்பட்டு விட்டது. *தாள பேதங்கள் விசேஷமானாலும், மேளம், இராகம், கவிதாகின் செய்யுள் சங்கீதப்பயிற்சியும், அர்கடக்கையும் அகமாய்க் தங்கை தமக்கைபோலக் கூடி தேதிகள் முதலிய வரிசைக்கிரமங்களையும் அநுசரிக்கவேண்டுமே. தியாசராஜையர்

பாழுஇன்றன. இச்சங்ரேத்தையும், அர்நடக்கையையும் வேறுபடுத்தினவரும், கிருதிகள் யெல்லாவற்றையும் முடிவில் மேளகர்த்தா கிரமப்படி ஒன்றாக சேர்த்து

சங்கீதத்திற்கு னத்ரையும் மஹத்வத்தையும் கொடுத்தவரும், நம்க்குத்தெரிய கட்டிகொள்ளும்படியான விதமாய் அச்சிடப்படும். பக்கம், நெம்பர் முதலியது சங்தே சாகரத்தை ஆராய்ந்து பார்த்தவருமாயிருந்த முறறாதுபரவர் ஒருவரே. பின்னால் ஏற்படும். மற்றவர் பாடல்கள் பலவாறாக சமயபுக்தப்படி பிரசுரிக்கப்

அவர்பிரமஸ்ரீ மஹாவைத்தியநாதைய ரவர்களல்லவோ? ஜனங்களே! காமெல் 'படும். தாளபிபரங்கள் அலங்காரவரிசைகளினாலும், ட்சணகீதம், சுரஜதி,

லோரும் மஹாமைத்தியநாதைய ரவர்கள் பாதையிற்செல்வோமாக! சங்கீதத்திற்கு வர்ணம், முதலிய சுளுவான பாடல்களாலும் யாவர்க்கும் விசிதமாகும்.

திப்பொழுத இருக்கிற மஹத்துவக்குறைவைப்போக்கி, அதைம் களப்படுத்தி, + தியாகய்யா கிருதிகளையே பலபேர் பலவாறாகப் பாடுகிறார்கள்; பற்பல சற்பாத்திர விதையங்கபிற் மிரயே்ந்த, மேன்மேலும் விருத்திக்குக் பொண்டு சங்கதிகாயுஞ் சேர்த்தக்கொள்ளுகிறார்கள். பல கிஷியாக்களுக்குப் பல விதமாய் வருவோமாக! சங்கீதசாாரத்திற்பிரயாணம் செய்ய வழிதெரியாத ஜனங்களுக்குப் பாடம்சொல்லியிருப்பதாயும் தெரியவருகிரது. எதை ஒப்பி எதை தள்ளினாலும் பிரசீன கானம் (Oriental Musie) என்னும் கப்பலைச்செய்த மகா-ய-ர-ஸரீ ஏ.எம். சின்னராமி முதலியார், எம்.ஏ. சவர்களுக்கு வந்தனற்றைச் செலுத்தி அக் சிலருக்கு திருப்திபடாது. ஆகையால் சாஸ்தர கிரமப்படி நன்றாய் இருப்பதை

கப்பல் முலமாகப்பிரயாணம் செய்த சங்கீரசாசரத்தை ஆராய்ந்து பார்த்துத், யெல்லாம் அச்சிட்டு, இன்னின்னது சந்தேகத்றுக்கிடமாயிருக்கிறதென்றும், இன்

தியாகராஜையர், தீகஷிரர், சாமாசாஸ்திரியார், பட்டினம் சுப்பிரமணியையர், னின்னது வேறுமனிதரால் செய்யப்பட்டதாய் தெரிகிறதென்றும் அந்தந்த இடத்

இரட்டைப்பல்லவிச் சக்கரதான ஐசமுக கனநய தேசிரவுருக்கிக் குன்றக்குடிக் தில் சொல்லப்படும்.

கிருஷ்ணையர் முதலான மஹான்களா விரைர்கப்பட்ட மணிப்பிரவாளங்களாகிய 1. அனேட கிருதிகளுக்கு கவிராவினாற் சிட்டா சுரங்கள் அமைக்கப்படவே பாடல்களைப்பொறுக்கிச் சரியானபடி உபயோகப்படுத்துவோமாக! மகா-ா -- ஸ்ரீ யில்லைக தியாகராஜையருடைய சிஷியாக்களில் சிலர் அவருடைய அனுமுடன் சின்னசாமிமுதலியாரவர்கள் செய்திருக்கிற ஏற்பாடு மிகவும் மெச்சிக்கொள்ளத் பலவிதமாய் சுரம் பாடியிருக்கிறார்கள்,இவைகளை முழுதும் விட்டுவிடுவது தக்கதேயாம். சத்சங்தே மின்மையாகிய பஞ்சவாலத்திற் பிராசீனகானம் (Oriontal சரியன்று. ஆனால் இன்னாரால் செய்யப்பட்டதென்று சந்தேகமின்றித் தெரியும் Mnsic) என்னும் விருந்தை அளித்தால் பசியுள்ள ஜனங்கள் விடுவார்களோ? போது அவர் பெயரும் கூடவே அச்சிட்டால் போதுமானதாயிருக்கும். லப்புடைக்கத்தின்து சனிப்பார்களன்றோ? சுரஸ்தான குறியீட்டின் விபரங்கள் முழுமையும் தனிப்புத்தகத்தில் வெளி 4. இனிபிதகிடக்க, தி, ருபகம், திரிபுடை, ஜம்பைமுதலிய தாளங்களிற் யாக்கியிருக்கிறது. இதைக்கொண்டு சகலரும் சீக்கிரத்தில் (notution) உடைய (ு ாடியபா்டுக்களை ஏறபரடடின்திம் குவிக்கரமல், ுதிதூளத்திதுள்ள பாட்டுக் ட்சங்களைக்கண்டுபிடித்து கொள்ளவேண்டும். சுராட்சாங்களை அந்தந்த ஸ்தானங் களில் குறித்துக்கொண்டேவருவது சரிச்சுவடி சொல்வதுபோலிருக்கும். இது Oriental Music in European notation, a montuily periodical by, A. M. Cbiunaswami இப்பேர்க்கொர்த வெலையில் அசாத்தியமன்னியில், தாள் நஷ்டமும் டரோப்பிய Studalier, M. A. with words in English, Tolugu and Tanul characters, Nos. I to 6 (8 pages ருடைய பார்வைக்கு விகாரமுமுண்டாக்கும். of demy folib a number) P'rico Ru. 3. II சில்லரை பாட்டுகள் ஒன்றையும் விடலாகாது. இறுகன்தான் (History) T The fathor of such aa landlo the barp and organ. Goncais IV 21. க்குமேல் தேசத்து வழக்கங்களையும் ஜனப்பிரிய விநோத்ளையும் வெளியிடத்தக்

மாத மொருமுறை ஏ.எம். சின்னசாமி முதலியார், எம்.ஏ. அவர்களால் கது, வார்த்தைகளை வேண்மோனால் விட்டுகிடலாம், அல்லது மாத்திவிடலாம். இங்கிலீவ செலுங்கு, மிழ் இப்பாஷாஷரங்களில் ஐரோப்பியக் குறிப்புடன் சிருங்கார வார்த்தைகள் அச்சிடப்பட்மாட்டா ஒ பி:சுரிக்கப்படும் பிராசீனகானம்" (Ot.1-6) யில ரூ 3.

OPINIONS OFTHE PRESS, &c .- Continued. 224

Eetracs from LETTERS. of notation ; but evon if tho arrangement does not *exactly nccord with i the European System of koys and of tuning, still it will be usoful to tho Gouvernemient Ropublique Francaise beginner learning to reduce the Ragas of the Hindu music to writing ou des a system intelligible to the European Feader. Etablissements Francais Pondichèry, dans 1' Inde. Eatract from the Anfual Report of tho Cabinet Jo 16 Septembre 1893. MADRAS SCHOOL OF MUSIC du Gc .. erneur. for 1898.

Monsicur (LEMENT THOMAS, Gouverneur des Elablissements ORIENTAL MUSIC What was said on this subject Iast fear Françaais daus l'Inde. must bo said agnin this Littlo or no enthusiasm has but. ehown in the question by the native members of the association, with th one A Monsicur A. M. Chinnaswami Mudalyar, M.A., MADKAS. oxcoption of Mr. A. M. Chinnaswami Mudaliyar, M.A., whoso lovo for the art has led him to undertake the very laborious task of provid- IONSIEUR. ing Sauserit and Vornucular Lyrics with u written langunge. This J'ai reçu le recueil do Mesique Orientale note a l'Europeenno has been with him purely a labour of love, aa it is qnite impossible t lont vous etes l'anteur, et que vons avez bien voulu m'offrif, par that the monumontal t work lie is engaged in compiling can repay him intermediaire de Mr. le Liculenant Goneral MeLcod Comal do Sa from a financial point of viow. The Council had great pleusure in Iajeste Britannique : je vons prie d'agreer tous mes remerciements inviting Mr. Chinunawami to take tho place on thoir body vacatod .by Mr. Seshagiri Shastri. wour cette graciense attention. Recevez, Monsieur, l'expression de mes sentiments distingues. Extract from the CLEMENT THOMAS. INDIAN JOURNAL OF EDUCATION. January 1804.

SRIRANGAM, ORIENTAL MUSIC, IN EUROPRAN NOTATION, a Monthly Poriodical 1.4th Noremher 1803. edited by A. M. Chinnasawmy Mudaliar, M.A JDRAS : 1893.

Many thanks for the portfolio containing your first issuo with The greatest credit is due to the author duk is monumental t work intreduction. I am reading fhe latter wifh great interost. I could both for tho inception of the idea, nud tho mannor in which he is carry- ot make out the senpe of your gigantic undertaking bofore, and I ing it out. It is in one aense beyond ordinary criticism, as it is the ow pray God to bless yon and yonrs, with long lifo and prosperity, to first attempt ever made to adapt oriental music to notation of any des- inish the patriotic work you have so nobly undertaken, and to see cription, and conscquently there are no standards of comparison. Mr.3

aul reap the benefits arising from it. Chinnasawmi really stands in the position of the propagator of an ontirely new science and the critic can, therefore, only suggest ques- Happy to hear of your lady's steady recovery. Hope ore long she tions prompted by his acquamtanco with tho sister art. We have used will be fully restored, to enablo her helping you in your labours in tho the expression, an entirely now scienco, although the author claims rause of our neglected and enshrondod music. for'the indigenous art an antiquity,§ beside which European music is of The work is worth 100 times its weight in gold. I wish I woro in mushroom growth. But, tethe very great majority even of Hindus s position to help yon with 10 times as much more in monctary matters. and possibly to overy Enropein, pein, oriental music has been but a name.

Can you let me hiave a look at Licut. Day's book on our Music? It has been fosterod with jonlous care by those who have not been

Ife had come to me often at Bangalere for information, but I did not anxious to spread knowledge, but only to bequenth it and preserve it from

now he published a book on the subject. How facile an Englishman's extinction. We may be pardoned, therefore, for having up to this

en runs on any subjeet lie takes np ! time chorished the impression that the tom-tom|! adequately expressed the choicest thoughts of which the indigenous art was eapable. Somo few A. S. RAGHAVACHARLU. Furopeans thoro nre who havo, as a great favour, been allowed to listen to a virtuoso who professed the vina, bub the accoants they havo given of the impressions conveyed liuve not boon suflicient to raise the sploen Edmet Tnon th Ammud Reporl uf tu: of such ns linve not beon thus favonred. Our own and sole experience

MAADRAS JUBILHE GAYAN SAMAJ has been that when once we incautiously induced a professor to favour us with a solo, it took some degree of physical force to induce him to Au 1893. leave off. **

On a similar oceasion in February 1891 in this hall, Iis Mighness the Bearing all these things in mind, we own, then, to huving our

Jaharaja of Vizianagram suggested, that our molrdies should be curiosity powerfully oxcited by some of the author's opening statements.

, dueed to writing, or be made fit to he put on staves, as English music The work begins, by way of a motto, with Gray's well-known verse com-

just as it has already been done in the ease of musical instruments, . This is n mistoko: when the notation system is thoroughly understood, it will bo which certain native airs aro played; and it is now most gratifying scen that the nrrangement is quito as satisfactory as can bo desired. inention thnt Mr. Chiunnswamy Midaliar, A.A., of the Governmont t Nihil ost impossibile npud Doum, qui convertit petram in stagna nquarum, cf Becretariat, who had already adopted tho necessary mensures for giving rupem in fontcs nquarum. In Te Domine sporavi, non confuudar in teternum. wuetical effect to the above snggestion, s now publishing a monthly Non mihi, Domine, non mihl, sod nomini tuo da gloriam. urn:1, in which several native song. areredured to Enropean notation, 5 Vido Strabo x. iff. nd the principles of Oriental Music are filly explained. || No wonder! it is how everything Indian is ostimated ! Vido however paras. 18 to 20 of the Introduction. Evon in the boating of tho tom-tom, musicians of roal discern- ment linvo romarkod numberlees varioties of rhythin and oudence, which paus unnoticod by tho ordinary hearor. Ertract faun the T It is oaty to nwiks thoso who sloop, but not thoso who are nwako. QUARYERLY CATALOGHE OF BOOKS & .. Thin in n failing Inheront in human nalure, ancient as well ns mrdern, Europcan

printri in India.s as well as Tndian. Nenrly 2000 yoars ago. Horuco had a worse talq to tell of hin own contemporerios. Fhia sa a lnic ahenst to reduee Hindu Melodios op funes and varia- Omnitm hno vitlam oib cantorlbus nnum

ns to. vie timnea ml pares and ufber xymbols of tho European yster Ul pongunm laducant animtok cantare rognii, Ijatk hunqnam doalstant.

OPINIONS OF THE PRESS, &e .- Continucd,

moncing "Full many a gem of purost ray sorene." The expressions, The workc is not only intended for Eutopouns who know not Hindu "priceloss treasures," "spiee-fraught balms," "golden apples of tho music, but for Hiudus who know nothinof Europeun musie beyond Hesperides," " Fragrant flowers," "precious relies," "sweet Italinn of tho "God savo tho Queun." Cousequently.some piges of delinitions Enst "raise one's es pectation to the highest piteh, and when we turn over ensue, which tho Erglish roader would uip over. # Doubtless Mr. the page and nre told further that the orioutal art, as presently * to be Chinnasawmy knows liis owut countrymen vest, but he would havo dono oxpounded, will satisfy tho highest aspirations of the human soul, which woll to transcribo this portion of tho work irom some such well kuown ovon tho choirs of cherubim 'and seraphim fail to expryss, then, indoed, primors ay Cuinming's Rudiments of Music. t Wo should, however, draw wo aro incliued to agree with his own estimate of tho work boforo him the attontion of all readers, to the fout-note ou page 29. 15g now come which he describes as a Sisyphenn labour ; nu mifortunato description, to what muy be culled the work proper, boginhing at pag 37. Wo have by tho way, as we havea dim recolleetion that Sisyphust never succouded studied the mauy melodies presented in the following pages with great in what he undertook. care. § As the author says, harmony is not expected, nor could any Badinage apart, however, for which we hope the author will, for- known progressions of harmony sutisty thu yearning || that comes over give us, we are not yes able to see how the iuitial difficulty of his task ono after hearing about a dozen of these molodies. The writer is to be overcome. If we may sny so, the author seems to have gone found relief in a page from Wagner's Tristan. Serioualy, with the round it rather than through it. author's intimato knowlodge of European music, he cannot intend to sot That diffienlty is and always will be that oriental musie must up this collection of melodies, dressed up as it were in ill-fitting suits

lose t by being chained down to a fixed notation, while we hope ive of now clothos, in comparison, I suy, with the melodies of a Wober or

may bo pardoned for snying we. think Europoan musie will gain but n Verdi? Wo must remomber thut European music was always performed

hatloS by the addition thus made to its litorature,. What charm? long bofore it was writton, and it is only porfeetion of instrumonts and

the Eastorn art possosses, arises largely from its fugitivo charaoter, skill of performiers that has called forth the inveution ** of the composer.

indopondence of form and rhythm, || not unliko Magyar musio. The Let Mr. Chinnusawiny begin thu roform, or lot us say the revival, resemblance is a good one, because both Liszt and Bralims have dono of oriental music at the right end. what Mr. Chinnasnwmy, is altempting; that is to say, they have Begin with tho instruments, ft and then the performers nud the succeoded in erystallizing a very fugilivw aud wild deseription of musicfand chuining it dowu to a fised notation. Tho rosult is all demund for wi o music will comd, and whon the houe comes, a is s wvery well, when interped by a Liszt, but somo who aro not Liszts mnttor of universal exporience, tho muu coies also.

also try, with compl Gailure, as fur as tho attompt to expound We cannot coueludo this notice. without paying a tributo to the Huugarian musie is concerned. The writer remembers sitting with a author's ligh dovotion'to the art. It is absolutely impossible it that sheet of music paper, whilst a chir of ahout a-dozen telugu girls the present work can ever ropuy him a titho of whnt it has cost. It sang over and over agaiu one parteular melody which he wanted to is with him purely a labourfof lovo and nlthough doubting his ultimato catch. Once down .a pmmr, harmony (7) aud division iutu bnrp followed; but really thu uitimate resul is quito as incougruous a mixturo of liis singlo-mindod and disintcrostod devotion, as would be the clothing I of an Apollo in a swallow-tail cont and a top hat. Nor must wo forget to congratulate tho Ave Maria Press, on tho get-up of tho work. 'Wo had no idea music could be so beautifully §§ Iu the detailo Iuatruetion Boek, ralled the Academy of the Divine Art. printed in India, and we hope Mc. Chinnasawmi's entorprise will meet t Sinyphus had to ooit ap-Lille Jugn marbie bluch, which, an noon ns it reached within fitting moud of success. the inp, rollod duwn again. The nathor hae ao fer aicorodod in rolling up his hoavy burung tothe top of the hall, uud beanght lt to the antice of the ontiro world ;- quite This would bo a pity; what oro termied "defnitions" on pges 2 to S ard realls sone aud dingle leueled: - if his ronutrgmen will ailoy it to roll down again to the chaos, seoreta in tho Arts of Sight-singing not known to tho bulk of thuso who proiems to from whnee It was niah thd, it w ould not bo hia i/tat4 underatund Musio. Pagos 13 to 31 deal with tho peculinritien of tho Oriental yatom nud This le n fullacs. Nolduult, thi Weatora systom of notation stould bo so ahnnid bo carofully studied by tho European amateur: otherwiso he can noser appreciato Sar improved, aw to reoder it rapalie of expressing as accurately ns poxsiblo every the Music itself, ns uoted down in page 37 et sey. niado and tint of the poinds rich eoloura of Kastern depietion, but though difflonlt, t Tho anthor's principal object was to indiento to his countrymen the fnrilities it is not iampoasille. \l the initinl difenitica tave heen completoly overcome, the provided by the staff notation syaton: to ospress every want in tho langnago of Musie littlo that remains to in done aill, D. V. be fally orompished in the " Acadomy." t The "Rudiments of musio" proceed on quito a differeut prinviple and deal onls S This is falsilied by Herr Friedenthuls ipsedire, "The work will, when known with a very amall fraction of theudimonts of tho Art, a cultivated in Iwlin. in Eucopo, causo quite n neuxation in musicul circles." Indood, if it doos not, i.c., if tho various Indian Moder, hitherto unhoarl'of iu.Rurope, do not prodaco dectric 5 This Is curious, ns notwithstanding nll thie care, uot a wopd in anid of the % cffects on tho hearts of its grent musicinns, all'tunt can be maid is-thoir judgmiont fnscinntions of the peculnely Indian Mmes JAVA MADAVL. GAUDA, HANUMA mast be warped by their prejadices; tnt pis pour cur. TODI, kc., nor of the chnracteristies of VARJA RAGAS Jiko MADIYAMAVATI.

This in n.iriogs miapprelension. The deeriptior npplies only to w sery I It i bero forgolien; that tha melmies are aeldom wung hy themselves; there xtall ertent in r re of ALAPANAS of HwNs whien thry nre sung without in alwayn inutrumental necompanimient with Mrathagax, &c. Thewe ratisfy the natmral time. All the mebelion w printed are of a fised and definite cleaxeter, -huving been eraving for acconpammeuts, and leave nothigye to be drnired. tauglt by the Compcrtto their varous pupila oxactly in tho, wamo way. Tho time 5 Comparions aro odions; but the author after devoting over 20 yenra to European mneasuromouts, huwever .rude and complicatod they may uppeur to the eye of the Snaic ulong, now finds hiy solaco only in Oriontal modes Spoaking of Puto Melody Earopeas, aro none the less regular nul nion-fugitivo and aro thoroughly dependent en, by itsulf, there in catniuly nothing in thu former to comparo with somo arleet speimenu farin aud rhythui The penl fuet is tled the Eurupenu var ismnudde to discorn the cuurpdleto of thu lattor., This sill beceme self-appareut, when the system is Uotely onder lund. regularity of rhythm uulerlyiug most of the complicated Iadinn ineasurements, e.g. 5/IG, 518, 7:16, 7 N. . whtch hayien tu l tho moit pupular m connnon. *. lu Indin it was ust tho roverse.

S. Thie Se altogetlier vsaygerntell. Men of wry moderate nhilitites havo plnyed tr Improvomerts t ozinting indireumot inntruments are in ciontemlation: and nt frat eight sueres flly. the mielodiea ay now printed, in the prenenco of the profenuionn! woio hnyo already len se. on foot. masicians, who find song tlem out to the author. Tho exocutioty caunot of cpurno bo zt It is foared thet all theao unclitable prodictionn will share the fate .f especled to bo identieal is every seuse with thut ofa nntive esport; but has auy written Cassundra's prophecies : how much pore noble woubt it he for genorous nnd mppreeiative lanyuage gver reprodueed the thoughts and idoas of any writer with such absoluto reviowery of this, manp to porsuadeitheir renders to dive deeper into tho nedter and precision und accuracy ? Necerthefess efforts are being mado to mako MUSICAL NOTA. oncourage the wock, if not for che author'x kike, nt loenst in the interest vt the Aet ilaelf TION a gn at dea! more espreneve in th Orienud, teut it is iu the Kuropean aystem. 55 The ontire trodit t the menie-printing i due to Mr Ayeawms Mudabems

OPINIONS OF THE PRESS, etc .- (Continued.) CORRESPONDENCE WITH (ix) the different modes of RAGA ADAPANAM as ATCHIP- THIKAR, VITHARIKKAR, LARANAN MAKARINI SUBBARAMA DIKSHATULU OF ETTIYAPURAM. (k) and the Vital signs of RAGAMS and THALAMS and the I was very glad to receive your letter, and I thank you heartily forit. modes of PALLAVI-singing. Theso sciontifically exposed Considering the vastness of the work you have undertaken, and the with examples, expressed in staff. notntion will compriso brilliaut though partial success yon have attained, at no small expense shortly the work that I would propose to do. of money und labour, it is poor compliment. to you to say that you, ETTIYAPURAM, (Sa.) SUBBARAMA: DIKSHATULU, have been the regenerator of Indian Music in Indian and its propagntor in n European soil. I could bring to mind, in this presidency at loast 19th July 1894. Sangita Vidhran. no other individaal that could undertako this arduens task with a Reply. williugnes, which is singularly yours. Even if one could he found, ho Many thanks for your kind favour of the 19th July and the copy would be in sore need of your unbounded knowledge of the Science of of your contribution to the "Hindu". Busic and entirely wanting in the practical skill of the Art. I shall be most happy to publish the works of your esteemed In this labour of love, of course, I am only too glad to join, you. them printed. family, in a sepnrate chapter, quite by itself, oxactly as you wish to see Nay, J think myself happy that you have allowed mo foot-spaco in tho ground . hich has become entirely your own. To somo it may appear that the designations adopted by you for The rare aud origial works in this ancient Scionce thnt have heon the MELAKARTAS, which diffor from the commonly necepted ones, handed down tus asa heirloom are at last to soo the light, and I am will be a source of confusion to musicians and an. unnecessary compli- only too happy to see that the day has come for these to get ont of eation of what is alroady complicated to a frightful extent. But.I their sacred archives to enjoy a freer and a more useful existonce. I welcome with prido and pleasure evory thing that proves the skilfulneas only wish to add that it would be highly gratifying to mo to see that my and dextority of our dountrymen inedeveloping and improving this naine also is associated with yours in those publications, the originals of sacred science, which is so infinitely superior to evory other science, which I intend parting with. I shall feel myself highly hononred if and wlich they have perfected to a degree unrivalled in other branches this piece of kindness is conceded to me. and by other nations. I shall similarly welcome every effort made to I shdll be very glad to see the Wallajapet Baghnvathar as his render it yet more perfect, and shall ondcavour to immortaliso all abilities are really very great and undispnted. I do not know if Knkkarei the mnsterpieces of our living musicians, so far as they are worth Muthn Iyer is with you. I shall be highly obliged if you will kindly preserving, for the greater Glory of God and tho glory of our nation. favour me with a reply. A. M. C. At home here with my other duties I have been dovoting a portion 20th August 1894. of my time to the stady of some of these old works and I am mpidly getting throngh my business and I hope to be with you shortly. Copy of a lotter forwarded to the HINDU. (Sd.) SUBBARAMA DIKSHATULU, It is really inoxplicable how thoroughly an intellectual coma Iis

S Sangita Viahvan: supervened on our country-men The state of apathy our intelleetual 12th June 1894. life has gone into seems to be too far advanced for it to rally round. Reply. Never was there a people so autive in intellectual pursuits as our ancients, and nowhere is to be found at present another nation like little as I deserve the higlly complimentary langunge you have the Indians, enjoying so dead an intellectual stagnation. The state uxed in the foregeing letter, I appreciate it all tho mnore, because it perhaps has become chronic and any amount of stimulation may not emanates from sach a distingnished scholar of Oriental Munic and the touse it to action. I am really pained to see that the truly patriotic andd direct representative of one of the most scientifie of oor Beerboren highly noble efforts of Mr. Chinnasamy Madaliar, H. L, Editor of and Mendelssolin familios. the "Oriental Music" torevire Indian Music and escablish a notario .. I shonld omly bé too proud to bnve yoar namo associnted with mino, for it have so far remamed unappreciated and nupatron.zed. Thl r.o in the publicatinn of the lonrned works of your illustrious family ; I tim our music hnd but a spokun language uud feeble efforts were now and prepared to arrauge for this in any form yon may desire; especially again made to mode a written language by finding out and fixing as 1 1ank forward to your help for elucidnting the myxterics in which certain definito characters. The inadequacy of the characters thuy our entire system of RAGAS and MURCHANAS is envelopped, and invented and the incomploteness of the language modelled have been I therefore oagerly await your arrival. fully brought ow by.Mir. Chinnasamy Mudaliar, and in its place, the A. M. C. possibility of adopting the Staff Notation of the West, with certain 80-6-94. modifications and additions, and' tho ease with which it could be done have been fully demonstrated by him. Our RAGAS and! KIR- I am highly honored by ho l indness with which yon have received TANAS have been writton in this notation, such that "any one my humble opiuion regarding your work and :attainments; and I am tolerably, conversant with the first principles of the pictorial notation very maeh plensed to seo thnt my country is not altogether rid of can sing or play at first sight, and without the aid of a teacher or patriots who would make such great sacrifices to retrieve its lost treasures. instrument, any pieco of modornte difliculty." The carrying out of this

I would propose to sketch ont th work before us in the following noble undertnking has been accomplished, it need not be said, at no

anner :- VENKATA MAKI was the son of GOVINDA DIKSHITAR, sniall ontlay of money and labor; and the brain power spent over

stuident of THANAPPA CHARRI, who holds as his GURU the great thinking out tho rationale of the scienco of music und modelling its first

SARANGA DEVAR, anthor of SANGITHA RATHNAGARAM. This principles has really been enormous. Born in a family, which has

VENKATA MAKI was the first that suggested the signs of RA, RI, gained its own name in Sonthern India for proficiency in Hindu Musie, itl1; GHA, GHI, GHU; MA, MI; DHA, DHI, DIU; and NA, NI, NU and taught by one of the greatest men of that family, viz:, the nuthor

(i) all the LAKSHANA GHITHAMS of this author ofthe famous KIRTANAS known. as DHIKSHATHAR KIRTANAS

hi all the MELAKARTHA, RAGANGAMS and having deyoted somethinglike 45 years of my life to the study of

Ti) all the GHITHAMS, and THANAMS in the derivativo this sacred science, I could presume to tall with some authority on

UPANGA and BASHANGA RAGAMS the subject, and, I dare say, the work was undertaken with very greut

(iv) all the KIRTHANAMS of my uncle known as DHICK- responsibilities and has, beeu accomplished with singular success, that

SHATHAR in the eaid RAGAMS, it almost looks like a feat, and, Iswonder, he has been accomplishing it

(v) all the THANA VARNA GHUTHAMS of his brothor SINGLE-HANDED. The geutleman is n Master of Arts of the Sadrak

(vi) all the very rato CHOUKRAVARNA, THANAVARNA. Uniyorsity, is a fine oholar in Latin, is master of the Pianoforte and

KIRTHANAMS nud RAGAMALIKAS of my grund-uncie hus got hach n kuon ktowledgeef. lliudu Musle, that ho wonld in no

(vii) my BNG IMALIKA contniing the 72 MELAKARTHAS, time put a GHITAM or KIRTANAM in Europenn Notntion, nhel

RAN P. nmi nther KIRTHANAMS, thus has in overy way qualified himself to the highly ardnous task he has undortekon, und hns put iu auch n largo outlny of momney uvor (An) LOoLTilIS of great VITALLER men like POORANTHARA it, simply with the patriotic motive of regeueruting his country's music. and such amplu proots of success have already been put forward,

OPINIONS OF THE PRESS, elc .- (Continued.) 227

and yot not one of his countrymen is stirred to nssist him or approciato together with the KIRTANAMS made by my ancestora in these 72 his labor with true warinth. His ery has been a ery in the wildemess MELAKARTAS nt the disposnl of Mr. Chinnnsamy Mudulinr, and and Princes and Zamindars and Landed Proprietors and Judges and sooner or later they will be publishod. But before doing so, as I should Magistrates have all been nppealed to and they have all remnined inort like to make out as correct a toxt as possible by comparing different nnd irrosponsive to his call. copies, I have to ask a favour of your readers. As my uncestors have The first principle in the science of music is that all sounds put been direct pupils of VENKATAMAKI and his grandsons, their in Harmony can be represented by the seven letters known as the works have directly como down to us and JAGATH GURU KANCHI SAPTA SVARAS in Oriental Musie. So to say, these form the KAMA KOTI PEEDATHIPATHI SRI SHANKARACUARI alphabet of the language of music. Of these seven, the first SVARA SWAMIGAL has been kind enough to favour me with copies of the SA, and the fifth PA, do not vary, but always remain iu tho same same ; and to compare, as it is desirable to havo moro copies, I request pitch; MA bas two pitches, and the others three. Now these added up your readers and others interested in the regoneration of India's musir give sixtoon varicties; of these, the first two varieties of GA are found will be good enough to let me know when they come across any old copy practienlly to be the same as the last two varieties of RI and the first of CHATHURDHANDIPRAKASIKAI and RAGAPRAKARANAM Iwo varieties of NI are the same as the last two varieties of DIIA. One SONTI VENKATASUBBIER that was under the patronnge of llence taking these away we get twelve varieties and these by TOOLAJA MAHARAJA of Tanjore was ulso a pupil of VENKATA- permatation and combination yield 72 varieties known as 72 MELA- MAKI'S grandsons and as such instructed in his modes: and the late KARTAS or RAGANGARĀGAMS, Who derived these 72 RAGANGA TYAGARAJAH AIYAR, the composer of KEERTHANAMS thay RAGAMS this way from the varying pitches of the SVARAMS we are are in vogue at present, was a pupil of this SONTI VENKATASUBBIER. note in a position to state. Bnt he thnt originally distinguished tho So hoping that TYAGARAJA might have bequcathed to h varioties in the pitches of onch SVARAM and fixed them as varieties pupils any of theso works, I mnde searching enquirios at theirs, but did and named them was VENKATAMAKI son of GOVINDA not como across any ; but still those that are kind enough to mak DHIKSHATHAR an illustrious musician and composer that flourished enquiries may direct attention to this side also. about four hundred yeurs ago. Two of his most original works huge come down to us. One is known as CHATHURDHANDIPRAKASIKAI and the other RAGAPRAKARANAM. Tho former consists of ten Telugu Pandit and Sangitha Vidhvan, parts and the fifth part treats of RAGAMS. The latter work treats of Ettiyapuram Samasthanam, tho same subject of RAGAMS more cluborately and it is in these Tinnerelly District. works that he says that he fixes the 3 varieties of RI 'as RA, RI, RU, the 3 varieties of GA as GA, GI, GU, the 2 Vhrieties of MA as MA, MI, the 3 varieties of DHA as Extracte from the MYSOSE HERALD. October 1894. DHA, DHI, DHU, and the 3 varieties of NA. as NA, NI, NU. Abore wa recognized 72 varieties, ench variety being called a MELA- KARTHA or RAGANGARAGAM. The first RAGANGARAGAM HINTS ON MUSIC COURSE FOR GIRLS.

incalled KANAKAMBARI and its MELAM is SA, RA, GA, MA, The course chalked out is at best tentative, inusmuch as, Istly u P'A, DHA, NA; the, second RAGANGARAGAM is PENADHU- domarcation has been made from one year's study to the next following. T'HE and its MELAM is, SA, RA, GA, MA, PA, DHA, NI ; the third, and 2ndly it is a question whether easy songs should not take the RAGANGARAGAM is SA, RA, GA, MA, PA, DHA, NU, and so on. precedence of any attempt at "Sarali" teaching. I know that VENKATAMAKI in his RAGAPRAKARANAM gives 72 LAKSHANA instrumental music requires at once note-exercise to begin with, but GHITAMS; each GHITAM is a song sung in praise of a God in which he has. ingeniously placed the MELAM of the RAGAM to the voice-training by means of songs first must form the basis for both yocalists and instrumentalists, irrespective of nature's gift of sweet elucidation of which it is devoted, then the name of the RAGAM, then voices. the names of the UPANGA and BHASHANGA RAGAMS that are derived out of it; and the song itself is so composed as to be sung in 2. (a) I would therefore begin with Purandhar Doss's select songs, the RAGAM it describes. The skilful way in which he gives the mixed with other popular ones in vogue, all of high moral standard. - MEDAM is like this :- The GHITAM has so many AVARTAMS (b) With or without "gitas" I would introduce Gorinda Deekshita's or parts. In the GHITAM for the first RAGAM, the first word of Lnkshana " gitas," which at once give an insight into our lindu system the frat AVARTAM begins with RA (SA undergoing bo variation and of parent or gonerating melody-moulds. Theso "gitas" are being as-such commou to all RAGAMS) and the first word of the second published by Mr. A. M. Chinnnsawiny Modaliur, M. A., of Madras AVARTAM with GA, and the first word of the third AVARTAM All the 72 melody-moulds need not be taught. Melodious solections with MA, &c., in this way the beginning letters of the first out of them may bo mado, such as, "SANKARABHARANA" (N ... 29.) words of the lirst so many AVARTAMS put togethor forios the "HARIKAMBODHI" (No. 28,) "NATA BLAIRAVI" (No. 20.) MELAM of the RAGA as SA, RA, GA, MA, PA, DHA, NA, and so "CHALANATA" (No. 26,)" (HIAKRAVAKA " (No. 16,) " HANUMA on for each RAGAM. Now the MELAM of a RAGAM states whether TODI" (No. 8,) which are F natural, and corresponding ones in the the SVARAMS oceurring in it are sharp, flat, or neutral; and this is group of F sharp, such as, "MECHAKALYANI" (No.65,) "KOSALA" only a part of the LAKSHANA of a RAGAM ; there is another part (No. 71,) "SIMHENDRA MADHYAMA " (No. 57,) " KAMAVAR ktown as MOORCHANA which I shall presently describe. Modifyiug THANI" (No." 51,) "BHAVAPRIYA" (No. 44,) &e. (c). The the SVARAMS alone does not confer the maximum melcdy on the "THANAS" seem a little too many. (d) "VARNAS" may with advantage KAGAM. By transposing them in their places and making other small be incrensed in number and (e) "KRITEES" should certainly be twice, modifications as omitting one SVARAM in the AROHANA and if not, thrice tho number put down, and thoy must be selected from the adoptiug it in the AVAROHANA, or repeating oue SVARAM works of Seshayyangar, Thygay ya, Moothusnmy Dikshitar, Sama Sastry, wice, &c., it is found to beccme more melodious and to bo easier for and Patnam Subramanya Iyer, to which I would recommend the adopting for vocal or instrumental music. This transposed and modified addition of our local Pandit Padmanabha Sastry. I must here venture t .. urrangement of the SVARAMS is the MOORCHANA of the RAGAM say that old " KRITEESy are sung over and over aguin to a tiresotur This is very prominently given before giving the LAKSHANA extent, and the absenpe of novelty takes away the very charm of musie. GHITAM of the RAGAM by VENKATAMAKI. Accordingly the MOORCHANA for the first RAGAM is AROHANA, SA, RI, MA, PA, Thyagayya'a storo alone is so vast, that to thoso who wish, there is:

DHA, SA; AVAROHAŅA, SA, NI, DHA, PA, MA, GA, RI, RI, SA inexhaustible Ambrosia that may be drawn out of it. For want of

M1e. Chinasamy Mudnliar, in his work though recoguising the principlo a written record, all our genius was gradually getting obliterated, and

by whigh the RAGAMS derived themselves, i.e., the principle of piteh now M .. Chinnasumy Modaliar's "Oriental Musie" lias come to our reseue; we are saved. This work, must be iutrodneed to our girls, immediately variation, does not recognise this principle of trausposition, and does uotradopt the names giyou to the RAGAMS by VENKATAMAKI they have first learnt the opouing songs. Thu Modaliar's book of Oriental Music, with its book of instruction und exercises, is invaluable this great systematizer of the science of music. In view, to bring these reooguised aud at the saie time scientific and accuratu methods of inasmuch as it, opart from sterling intrinsic merit, opeus a wide and bright prospect for cultivation at home of whal has been learnt t RAGAM-singing, I havo premised to place these ancient works sclool, but too often forgotten and ueglected at home,-cultivation,

OPINIONS OF THE,PRESS, etc .- (Continued.) 229 1.14

indepenaent of teachers, who conld certainly not follow up thoir girl took ; advancing further we can see that even these SWAREMS ATe pupils to their homes in their wodded state of life ? divided into their componeut parts, namely, SHRUTHIS. For finding S. Notntion or music-writing in its latest accepted form, such ns ont the MELAM of a RAGANGARAGAM, adopting tho ingerious. Modaliar's is, must bo learnt, if we wished to move with the spirit of the device of VENKATAMAKI, i-e., naming the three variations of RI, ns preseut times. Somo of our lady pupils may become original composers. RA, RI, RU, and these of DHA, as DHA, DHI, DHU, &c., all that Aud will they not lind this a ready form into which they would eagerly we have to remember is but a formula known ns KA-TA-PA-YA-THE- cast their songs? And originai genius is thus porpetuated for all posterity. t SAMIGNAI; with the aid of this formula the MELAM of any RAGAM What system there is nmongst us is crudo and clumsy and cannot at all of the seventy-two, MELAKARTHAS could bo given ont in no time. comparo to the perfected Europe notation. With this help, songs could After finding the MEDAM of a RAGAM as SA, RA, GA, MA, PA, he mastered from tho mero books !! DHA, NA or as SA, RA, GA, MA, PA, DHA, NI wo can with definiteness stato the number of SHRUTHIS that cach varying 1. For Examination purposes instrument instead of voico is assured- SWAREM takes. For making up tho MELAM of a MELA- ly the best criterion of odo's nttainments. KARTHA thero must be 22 SHRUTHIS. In an undifferentiated 5. 1 am of opinion that teaching of music to all girls should not be MELAM as tho first MELAKARTHA in which all the SWAREMS indiserimnato. The subjoet must bo miuile optional, as so mnch deponds stand SUDIA without undergoing any VIKRITHI BETHAM, as SA, upon an appreciating home and husband in after life. Thero must be RA, GA, MA, PA, DHA, NA, the SHRUTHIS are distributed as community of feeling in all pursuits of life and in fellowship, particularly follows :- SA has 4;, RA 3; GA 2; MA 4; PA 4; DHA 3; NA 2. of the kind which onght to exist between two loving creatures, such as t For the second MELAM they will be 3, 3, 2, 4, 4, 3, 3. In the same the busbaud and the wife, and emphatically so in a Hindu home where manner the SHRUTHIS of the SWAREMS of the seventy-two MELA- the marriago tie is not of the senses (or seusnous), but of n sacred KARTHAS could be given as precisely and easily as their MELAMS character, emblematical of the eternal wedding of souls together in could be given with the aid of the formula above given: so then the harmonious fusion, and further, typical of the universnl merging of sonls SHRUTHIS stand as the ultimate basis of classification. To ascertain in cougregation,-having becomo " Mama Sadharmyamagatah" with mathematical, accuracy tho SHRUTHIS of the SWAREMS tho (Sacred Gita), and winying in chorus the " Musio of the Spheres." use of a SHRUTHII VINAI can be nvailed of. This musienl instrument Aud such is u home, a happy home; olse, a result such ns "od is uot in use and neither could it bo found any where in the soveral.

8ab" is dreadful to contemplate. Also in such a supposed collections of musical instruments The mode of constructing this

ras, whero is the good ju the abrupt discontinnnnco of n study instrument in very clearly given by VENKATAMAKI and sooner or

over which so much young energy and time was wasted in tho Iator I hopo to mako one myself. So tho ull-important part which tho

school days? Foy music, Ishy, let paronts or husbands pay or make SHRUTHIS play in the science of Indian Music should be well borne

the choico. They know best what their dnughters or wives respect- in mind; and VENKATAMAKI has brouglt out this highly

ively should bo like. comprehensive analysis treating the minutiw with a clearness and precision that is unparalleled and no ordinary intellect could ever 6. Music. preparation for our future wives is to secure pleasant have hoped to do it,. house holds after the day's wenry life-struggle is suspended. Why not prepare their hushands likewise? I should like to know; why Before VENKATAMAKI bronght out this analytical classification musie shbuld not be tnught to boya like other Arts? This was, I of the MELAKARTHA RAGANGARAGAMS the ono that was in hear, once a subject in n Sanskrit School at Mysore. Why was it vogue from the time of SARANGADHEVAR onwards was this :- discontinued? Why like Madras should there not be ono School all harmonised sounds were divided into three GRAMAMS (as a village at Mysore and one at Bangalore for all boys who may have a taste or GRAMAM is a collection of houses, a GRAMAM in Musie is a

for this department ? We would then have respectable Musicians who collection of harmonised SWAREMS) out of these three, NARATHER

could socially mix and move witli us ; such at present being rare and the great MAHARISHI and other RISHIS the reputed founders of

keenly desirod on social occasions like marriages and similar gatherings Eastern Music have asserted that GHANDIARA GRAMAM waS

from which we have. been exorcjsing the prostitute's music. In this is fit only for DEVALOGA (the abode of Gods) and the other two for

fouud a part solution of the much talked of Anti-Nautch-girl question. this world of ours. The SHADJA and MADHYAMA GRAMAMS were

A. GOVINDA CHARLU. in recognition from the time of SARANGADHEVAR, perhaps till somo time before VENKATAMAKI. But VENKATAMAKI doos not seem to recognise the MADHYAMA GRAMAM in his # In giving publicity to thu above, we would introduco tho famons. book for the following rensons: In the musieal literaturo adopting book ef Mr. A. M. Chinnasami Modaliar, M. A., to the notico of the the classification of the RAGAMS into GRAMAMS it was stated that world, both in Indin and in England. We would specially commend it in MADHYAMA GRAMAM the PANCHAMAM lost one of its to tho European public, tho better half of which will doubtless welcome SHRUTHIS and had three; and that MADHYAMAVATHE and this Oriental masterpiece, as letting them have an insight into othor RAGAMS came under it. Now this PANCHAMAM is found onr national music, which in this form is so very accessiblo ; a splendid to be or rather is the same as PRATHEMADIYAMAM or VARĀLI opportunity for them to embellish themselves with this raro talent, MADHYAMAM. Bnt the MADHYAMAVATII RAGAM as sung with tho talont acquired to work all the better for Indian women, as a at present does not havea PRATHEMADHYAMAM but has a SUDHA native sacred song sung by European lips in a Hindu home will so MADHYAMAM hence VENKATA MAKI says that MADHYAMA. muchi 'take' with the Hindu ladies (National Indional Association ! note GRAMAM is not in practice and as such we cannot say what set of. this), aud what is grandest, an inlet into the national life and aspira- RAGAMS go to form this division. The whole set of RAGAMS that tions of the Aryan heart, which might bring the sister English heart we have at present comes under the division of SHADJA GRAMAM closer to its precinets and bridge over the gulf hetweon England and in which the PANCHAMAM has four SHRUTHIS. It is insteud of India -ED. M. H.] this dwindled relic of the classification that VENKATAMAKI proposed

Estracts from another communication of SUBBARAMA his classification based like the original one on the distribution of

DIKSHITHAR to the Hindu SHRUTHIS. Again, the SHRUTHIS aro eminently uscful for finding out the VATHE, SAMVATHE, ANUVATHE, VIVATHE SWAREMS of the RAGAMS, after the tables constructed for tho In my last article I mentioned how the seventy-two MELA- KARTHĀS or RĀGANGARĀGAMS were derived; but I was at a purpose. After this classification the CHATUSHRUTHE RUSHABAM

lnas to state who originally derived them like this it could be positively and . DHAIVATHAM will be PANCHA SHRUTHE RUSHABAM and DHAIVATHAM . The modo in which they bocomo liko this will * ahserted now that it was no other than VENKATAMAKI that was the author of this classification. Ho himself states so in his work and be explained later on. As to the names of the RAGANGARAGAMS, these are composed allirms that the RAGANGARAGAMS could not bo increased omto snit the KATAPAYATHE SAMIGNAI; besides in tho LATCHAN duninishod by any numbor. . Tho basis of the classification wo found 15 he the VIKRITT BETIAS or the variatiens which the SWAREMS t This ingenians dovico oxists also in tho old names. (Vido notes in pago 15 of the * ác noi bohingn thiu; h may havo improved upen the nomendlaturo of tho modos; Introduction to this work.) hat h siovles thenele smnd hayo pro-exiuted for ceveinl cootnrice before tho simo of This qnestion of SEUTIS rolntes exclusively to tho theory of musie, and must not bn mixed up with tho netoal musio now enng in tho conntry. It in useless to discars

OPINIONS OF THE PRESS, ctc .- Conti 2 19

GEOTHAS of VENKATAMAKI, he 'has placed onsy those names RAGAM, PALLAVI, or a KIRTHANAM, and longer still before they that he proposed; so if those nro not adopted* the whole set of can compose one single GHITHAM of VENKATAMAKT or a RAGA- LATCHANA GHITHAMS will be of little or of no use as the namos MALIKA like that of RAMASAWMY DIKSHATHJAR, (my great that are in practice could not be found in them. So I propose again grandfather.) Captain Day's cight years' experience, I am afraid, cannet aito urge that the nuies adopted in Mr. Chinnasumi Mudaliar's book make the cloud that shrouds our music a shade loss deep. Our scholars are not those adoptod in the science, of music and also in thoso that devoto thoir undivided attention in one special field of our Shastraie exquisitely and benutifully framed LATCHANA GHITHAMS of Literaturo for over half a century find it difticult to get into the core of VENKATAMAKI. The .greatest musicians of recent date as SONTI the thing or have n comprehensive survey of the same. As SARANGA VENKATA SUBBIER the GURU t of THYAGARAJA IYER, were DHEVAR says our science of music is an ocean of accumulated adopting ouly thesescientifically approved names; and DHIKSHITHAR knowledge, accumulated by the greatest intellects of our nation, the has put iu ; his compositions not the names in practice but those thut aro grent MAHARISHIS themsolves, as KASHIAPAR, MATHANKAR. adopted in the scienee; so the names in practico are but spurious out- YASHTIKAR and SARTHULAR, KOKULAR and VISHAKILAR, growths and the sooner they are discarded the better. KAMBALASWAR, NARATHAR ond THUMBURU. As to our MELAKARTHA RAGANGARAGAMS, in view to keep thei in utmost (Signed) SUBBARAMA DIKSHITHAR, seerecy, people now and again have made LAKSHANA GITHAMS, Sangitha Sahithya Vidhvan, liko those of VENK. TAMAKI'S, but differing from them in not'huving Ettiyapuram, the names of the, RAGAMS and their MELAMS, and launched them Tinnecelly District, into practice; and again some haye mangled the LAKSHANA GITHAMS by taking away the names of the RAGAMS and their MELAMS and other uscful points introduced in the GHITHAMS and

Ertract from the Report of the have inserted other words in their places. Such was the jealousy witl which the few that have known the seeret of our.science have been Madras School of Music guarding it. I shall tell you another interesting piece of aneedoi

for 1894. regarding the way in which I got a 2nd copy of CHATHURDHANT! PRAGASIKA and RAGAPRAKARANAM of VENKATAMAK! from the gontieman in whose possession they were. The descendants Oriental Music .- The Conpcil much regret the apathy dis- of VENKATAMAKI lived near Kumbakonam.' One of them had these played by the Hindu section of the community. Many of the Native old endjan leuf books, and I made very. great offorts through many mombers have retired from the Associntion and given as their reason influontial persons to make him part with them but the old man sternly the attitude of the Council. But the real fault lies with themselves. refused and wanted to tear them to pieces and throw thom into the There are five special clauses in the Artieles of Association, which indi- Cauvery River; so long as he lived, I never got the book and only after cutu anything but aputhy on the part of tho Couneil. But no wish is his denth, through tho'iufuonce of the Into SHANKARA CHARIAR expressod, nor has any suggestion been mada by thoso moat concerned SWAMIAL, after all'I got them, und lot mo toll you that ho was unt and the fuct really is that, with one brilliant exception, the only man that wanted to do the like; there have been and are mant professors of the indigenous art are thoroughly conservative and aro in possession of priceless old books, thut would rather purt with their not interested in extouding widcly a knowledge of orieutal melody. lives rather than with the books. It is on treasures like this that wr should dopend upou for our information, and not on scholars mnde up by hearsay knowledge. It is,these higbly scientilic works mado np by the master minds of our nation, that must stand as the basis of the

The abore is abundantly proved by the following impregnable tower, that you propose to build, and it is they and they alone that can support it to stand as a monument demanding the further communication from SUBBARAMA DIKSHITHAR of admiration of our educated countrymen and that of the Westorns who

Ettigapuram. are justiin their childhood of au iutellectual life. I wanted you tu adopt the names of VENKATAMAKI for this reasou and for no other.

Our Science is purposely surrounded by mysticism and is buricd Without these the LAKSHANA GITHAMS conld not be understood

in secrecy ; very few are allowed to enter its sacred precinets and much and without this, GITHAMS, the compositions of my ancestors could

less kuow its secret methods. In my own life, I have personally ex- not bo enjoyed.

perienced this, at the hands of iny own GURUS, that weremy own kith and kin. They cared more for the secrecy of their knowledge than for the nearness of relationship or the association of a diseiple. TThe Westorns Letter from the Rev. J. T. LAWRENCH,

have never yet directed their full efforts in the investigation of our Secretary, Madras School of Music, scieuce, and it will be very long before they attain any very great regarding. the Instruction Book. kuowledge of our music and very long before they are able to sing a

"The new names will eertainly Le sdtopted and placed aide by sido with the old ones uat it is foaredl thati woald be diffeult to supplent or explode theeo altogether. Thoy Your scheme of lessons is inost lucid and for the first time I begiu liare boen adopted in revers! works ly Kuropean acholars, and in Captain Day's recent wbllcstion. They hàve takuas duep tot in the countey. to pick up somo of your ideas. It is thoroughly interesting and yon

7 Thic in by no mennn ajgosrents houn uf the diaciplea of TYAGAYYA sppoor to aro to be congratulated. I don't know that' my criticism would tw ha.ve bemd of the new sames, which aro belleved to be recent isterpolations. worth much, becauso I stond iu this subject on a mnch lower pdane #Uinc iste tacrymr. $ Sit nomcu Domini benedictum. than you do. But you might give a little more prominence to the fact A. M. C. that "association " is the great fuctor in likes and dislikes.

11 OPINIONS OF THE PRESS, etc .- (Contintued.)

Letter from AI,FRED WEEB Eaq., M. P. President of tho i thnt Greck music waa ho other than Hindn music imported into tho Tenth Indian National Congress, Madras. West, we snilo at the Hon" REGINALD LISTEE'S recognition of "a Itarsi, 8-1-95 cortain stori grandenr, in the Hymn, while that " distinet!y melancholy ind rehgions chara ter in i " recalls to our minds a I an much obliged for your volume* of Music. I intond to showi RAMASANY or a SUBRAMANIA nsingin', far more than an CEdipus Tyrannus to the Musib crities in my country, and if possible have extonded the or any classic bard of old. The ancient author STRADO relates that the knowledge of yonr labours. Grecks themselves declared that they had borrowed theit musical I rogret that I was before lenving unablo to sco you. My addresy at hume will bo Alfred Webh, M. P. science from India. "The seven musical notes," says Hostek, "which. the Brahmans invented, passed, at least four centuries before Christ, No. 9 Garville Road, through the Persians to Arabia, and woro thence introduced intor Dublin, Ireland. Earopean musie in the 11th century A. D." In reforence to this, it Very sincerely yours, might be objected that it was only as a "science " that the Greeks bor- ALFRED WEBB. rowed their music, which still retained its own national cheracter ; bnt, AvE MARIA PRENS, MADRAS. it is apparently not so. Tha four Greek modes were mere variations of Kindly uxenso my not being niile to writo your unmo.t I bavo not one of the commonost of Hindu modes, and Mr. LisTEu's description of your bock by me. It is with my heuvy luggage at Bombny. the hymn to APOLLO as being in O minor, und in # time gives it an "The book wan forwarded nt the T'rosident'a requent. nndoubted Hindu character. Now, we are odd. creatures, rearly all of us. On the one hand, the Englishman who ont of a " pure cussedness" stack it on th g cover. + Re had ont out the signaturg from the author'e letter forwnrding tho book and of sentiment pretends to be delighted with tho sweetness of a Hindu

Eitme from a- porch uf Hia Eaelenny LORDWENLOCK pong iet man to bn vogarded us filled with the gonning npirit of roman-

at the distribution of prizes in the Madras School Ang if not of romance. But on the other hand the man who will stop

of Miisic on the Gth March 1895. up his ears at a Hindn concert but go into raptures over a "Ureek pinn"is the worse humbug of the two. We give the writer in the

H. E. The GOYRRNon said thut ho had beeu asked by the Secretary Nineteenth Century the fall credit of never having been in Indin, and

to say a few words heforo the concert they had been listeuing to wag ncense him personally of no inconsistency. resnmed. He woul in the first place evpress the pleasuro that it had It is ulmost impossible for a European to admire a Hindu song. He given Ludy Wenlock and himself to be present at tho first public may admire the soft tones of the vina, and muy be quito carried away distribntion of prizes that had taken place in tho School of Music with a Hindu strain on the violin; but it is contrary to all expectation There was only one point which he observed with regrot, nd that that he should admire a Hindu song. Their voices are not our voices, and was that the stndy of Oriental music was plmost neglected. As far as their stylo is not our style. With the Hindu himself the hearing the School of Musie was concernod, unfortunntely those interestod ing of a song is much more of a *scientific matter than it is that particnlar kind of music did not come forward, as could be wished. with ourselves. He hears not only with his cars, but with Hie was sure that those who took to the study of Western music would his mind. Our eard, must be delighted with a sweet voice that sings he only too glad to nssociate themselves with the professors and those in tuue, To the Hindu the quality of the voice is of much less impor- thoronglly sequainted with Oriental music. At present he thought there tance than it is with us, but the time and the mode must be was a great want of knowledge on the part of those .connocted witt apparent, and to this the Hindu concertgoer listens as Westorn tusie of the history, refinements and composition in genoral of to a scientific treat. The old tom-tom, that tho singer bents, Oriental music. He believed that bath schools would directly benefep perhaps, so noisily, is not meant for a thing of beauty, God forbid ! if lought more into contaet. The Report alluded to the defection on but it takes the place, and more than the place of our condnctor's silent the part of certain Hlindu members on account of disagreements that baton, and with the difficulty of Hindn musical time, it is nn important had ocenrred betwren thei and the Conneil; but unfortunately tho accompaniment. To many a European, a performance on Hindu portion of the community did not come forward to overcome the the violin or the vina as played by a skilful musician differences which existed, and for the present he was sorry to think that is 'often, somewhat of a revelation; the nusal twang that

nothing in this direction was being carried out. He only hoped it would is so repulsive to ourselves is gono, and he finds that the music br possillo for the two schools to be associated together, and that is not really so dreadful after all. Yet even here, he'mnst remember gritlemen of this country of position and menns would,come forward to that ho is only hearing a half that the Hindn listener hears; he is hearing

help chis movement Lecause it was hardly necessary to point out that the music with his ears, but his nind is deaf to its scientitic charms.

Governineut would luok with more satisfaction on tho movement if it An illustration of the same thing may be seen in a Hindu nantch. Tho

ennlil be found that all communities interested were coming forward to European, as a rule, finds it a dull monotonous performance, as indeed, work side by side to promoto one of highest and best,arts they had in the in itself it really is. But a nautch-with apologies to socinl reformers

country. and with no intention of recommending probibited pleasures !- is by no meats a mere exhibition of the nautch girl's grace and deportment. It

Eatract from is a stientific exhibition of music as presented to the cyc, just as the THE MADRAS TIMES, Th MARCH 1895. accompaniment aud tho singing present iusic to the ear. Every stop, every movoment of tho head or of the urm, that to the outsider appears

MUSIC OF SORTS monotonously constrained nnd even ridiculous, has its own particular rhythiical meaning. A British missionary, learned in Indian ways In the course of the recent excavations at Delpbi, the explorers bghted on a valuable find, in the shape of -the music and words of the writes in the February number of the Indian Magazine, saying that ho

fatnus ifymn to Apollo, said to have been written in the third contury was once present (!) at an exhibition in which a class of nautch girls

B. C. The musie was deciphered by classic scholars, armed with the carried on imultaneously five distinet rhythmical movements-one

ciassie mannal of Auveios; and just a yeur ago, in March last-year, with the right hand ; another, and quite diverse, with the left ; a third

this piere of Greck music was publiely enng once more in Athens, and a fourth with each foot, and still another with greaceful movements

aud waked echoes a thousand years old. The masic is described by a of the head, all tho time advancing and receding with instrumental and vocal accompaniment. The whole thing, says the missionary, was an writer in the last number of tho Fortnightly Revicw. "The hymn, exhibition of consummate skall. As with a Hindu nautch so, with a he says, " is written to be sung in unison, as was always the caso in Givck masie; the enle is the Phrvgian, corresponding more or lexs to -Hindu concert. The Iindu listens to a variety of rhythmical move-

onr C miuor; and the tine, which is settled by the metre, in this ments brought ouf by what sounds to the initiated outsider as inano

case paronic, is i. The melody has a cortain stern grandeur of a noises introduced ad lib.

distinetly melanebely and n ligious character, and bears an undonsted We aro led to make these remarks on Indian musie by what LORD risgublance to the musie composed by Professor Stanford for tho annure of the (Edipus Tyrannus" Now, we read' this description in WENLOCK said at tho distribation of prizes on Tuesdny to the students of the Madras School of Music. He regretted, and we regret it yory atl berinusness, ind we bavo ne donbt that the Hion. REciNALD LISTEu, dlus weiter, has more than a romantie admiration for these ochoos wincorcly with hit,thet the study of Oriental-ninsic had boen nlmnost

pht-world singmy. But when wo call to mind thut the Gircokimodos eneglocted. lio believed that at present there was a want of kuowledy

of the thito century bad heen Iutely birrowed from tho Hindn hu on our purf as to the history, ruffnemente, und compositiou generally of "Herolr Tot Lho whole socret of the Llinde Ftedilection tor hie own musio A. Mt. C

OPINIONS OF THE PRESS, etc. (Confinued.

Oriental music, and that the two Schools, Westorn and Orontal, -onld derive much beneht if they could be brought more into contact than Lettor from Dewan Bahadur, Chindatripet., 11th August 159

they appurently were at present. Unfortunately, the Minlu portion, of P. RAJARATNA MUDALIYAR EnQ., Sccretary to the 231 tho community did not weem to come forward and try to gei over the Board of Revenuc, Scttlement, Lund Records and Agriculturr. differences which existed between the Iindn and European Councillors of the School. Now, we have no rensou to suppose that the Rindu It is moro than two yeurs sinco my uttention was drawn by nu professors would be shown anything but the strictost courtesy whon article in tho Madras Mail, to your oxcollont Periodical, the "Oriontal meoting in comnion with Europoan musicians, but it is possible that Musio in Europoan Notation." Since then I have been kuunly watohingthe they may be shy of bringing their music to the front, in tho idea that progress you have been making,-oceasionally attending also the weekly must huve boon borne in upor them by now that their musid'is not likely concorts at your house,-in the eager hope that Hindu ladies would soon to be apprecinted or even seriously studied. Might not tho European be placed in a position to learn and practice their uational Music members of the stafi induco some well known Hindu professor to come without having recourse to dancing girls and prostitutes for instruction forward and give public lectures on the science of Hindu music ? With- in the mystic art. Your progress, notwithstanding the prolonged illness Tout having too much of tho practical part of the thing at first, our minds of your wifo and your enforced absence from Madras in consequence, might be so trained by the thoory of the thing that we should find a has boen most satisfactory, considoring the difficultios attending this fspiritual pleasure at least even in the music at a marriage procossion. gigantio task. That there are Hindu musicians amongst us is undoubted. A roully monumental work on Oriental Music has, for some time, been lying on Yours is, tho firat sciontific attompt that has been made to provide our office table, the production of Mr. A. M. CUINNASAWMY MOODELIYAE Oriental Music with a written language, and your labors havo of the Avo Mnria Press. Mr. CUINNASAWMY MOODELIYAR is & scholar, and been fully appreciated by ominent musicians, like Horr Fricdenthal his scholarly work deservea to bo vory widoly known. Tho wholo system, and other .European experts. Tho Hindu public gonorally hus how- of Oriental music is expluined from its elements, and the notes havo ever, us yot shown little outhusiasm in encouraging the movement which been put most cleverly into the Western notation. This is tho first you havo so nobly undortaken at much personal sacrifice, but I think really scientific treatment of Hindu musie by an Indinn acholur vorsod that this is to a grent oxtont duo to the fnet that only very fow hnvo hnd both in Hiudu and European music that we have como ncross ; und it opportunities of studying tho notation, or of hearing the Musie played on might bo supposed that with such u work at hand, and with its author the Piano or the Harmonium. and other Hindu musicians in tho City, the School of Music should find no diffienlty in satisfying Lord WeNLock's wishes. I would suggest therefore that you should mako carly arrange- ments for training a few men to give fortnightly or monthly concerts at the Pachayappa's or Banguetting Hall, and also for opening classes for giving instruction to Eurasian and native Christian ladies, so that they may be able in their turn, to instruct Hindu ladies in their own

Extrucs from letters. national Music, rendered in European notation.

From Mr. A. KRISHNASAWMY AIYAR, I have recently suggested to the Secretary to the National Indian

Pleader, Tinnevelly. Association that the Home education of native ladies now carried on by the association should be supplomeuted by instruction in Music, and thaf The work you haye beon doing is indeed very useful and valuablo to this end, it would be desirablo to sond half a dozen femnlo stipendiary. and tho Hindoos as a body owe a large dobt of gratitudo for the pupils to be trained under your suporvision. I hope that the sugges- immense benefits you havo conferred on them. The success which has tion will commend itsolf to tho committeo. attended it in spite of all difficulties is mainly duc to your commond- able perseverance I am quito ready to do whatever is necessary to Meanwhile, I shall be most happy to pay Rupees 10, or 12 per

bring the remaining portion of your work to u successfal completion. mensem to any respectable female whom you can find to teach my daugh-

Tris a great pity that H. II. the Raju of Ramnad is in pecuniary diffi- ters to play Hindu airs on the Harmonium or any other instrument yon

oulties or else I can roquest him to render very substantial aid in the may recommend. I am sure that if the matter becomes known, many a

canse of your undertuking. respectable Hindu home will go in for this Music, at once.

It is a grent pity thet while thore are so many educated gentlemen Another suggestion that I would mako is that a Music Association

in Madras, not one has come forward to help yon in this most useful should be formedi somothing like the Madras School of Music, to which

undertaking. Your work when completed is calculated to do a world of members should be admitted on payment of a small fee of Rupees 2 or so

good to the public. a month. Theso should be admitted free at all coucerts. I think the timo has arrived for taking some practical steps in tho direction indicated, andslet us hope that theso efforts may meet with the success they deserve. PATHURIA GIIATA RAJ BATI But whatevor thoir prosent fate mny be, you mny rost assured that Calcutta, 14th May 1895. your 'Oriontal Musio' will romnin an undying monumont of your gonius From RAJAH SIR SOURINDRO MOHUN TAGORE, Mus. Doc. and perseverenco. I know what enormous sacrifices you bavo made, Knight c. I. E., "Nawal;" Sangita-Nayaka ; Zemindar of and how much you have sufferred in purso and in health in bringing Chandradwip, Backerganj. out this monumental work. In spito of overwhelming difficultics, in

I lave to acknowledge with many thanks the reccipt of tho three spite of your heavy official duties, you havo done unaided, what no

copies of the first issuo of your work on "Oriental Music," the despatch other man-not even twenty men put together, I should say-could of which was intimated in your lettor of the 25th ultimo. The publica- have accomplished.

stion promises to be one of colossal proportions and when completed will I would now advise you to stop all further work until you havo certainly stand as a monument of your industry, research, and above all redeemed the many valuable jewels, which you have pledged to meet patriotism. It is a greut pity that you may be compelled for want of ade- the cost of this noble yndertaking ; perfect what you have donu so far, quate pecuniary support to curtail the usofulness of yonr work. Book and try to bring it into practical use nt once, and wait for better times. writing does not pay in this country-nay sometimes tho sale precoods do not cover the actual expenses ; and especially this is the caso with Hindu Musie which, I fear, is less encouraged than it ahould be. As I Mylapore, 18lh Angust 1895.

havo published a number of works on tho subject and havo others on From the Honorable MR. JUBTICE S. SUBRAMANIYA AIYAR C.I.F .. , hand, which are distributed gratis, you will oxcuse mo if I am unable to Dewan Bahadur, Judge High Court of Judicutitre, Madras. afford you any pecuniary help in the prosecution of your laudable I au sorry to have allowed such a long timo to lupse bofore reply- objeet. I take ths opporlunity of sending you a copy of my latest ing to your letter. I need hardly say your patriotic Iabors towards thd publication, Pope's " Universal Prayer" set to Indian RĀGA MĀLA. improvement of Native Music deservo overy encouragument at the hands of your countrymen. I hopo the result of your offorts will enable our people to learp Native Music casier than can be done now.

.13

OPINIONS OF THE PRESS, eto. (Continued.) 116

Ertracis from Letters. INDIAN ANTIQUARY of October 1895; page 304. 232 I havo to thank you for an exceedingly clever work. Althongh to wpenk cundidly I do not tr think thut tho monthly BOOK - NOTICE.

periodical " Oriental Music" is likolf ever to becomo popalar in Europu, it should have a good circalation in India, ospecially among native ORIENTAL MUSIC, A MOXTHLY PERIODICAL EDITED BY musiciana with tho knowledge of horiony and musienl history. Of A: M. Chinnasawmi Madaliar, M.A., courso to tho nninitiated tho 1001 scales and othor features of Nativo Ave Maria Press, Pudupet, Madras, 1893. Music would be rather perplexing but on tho other hand the book explains all it snggests so that after careful study ovorything should bo This periodienl appears to have been started, with tho following well understood by a diligont scholar. objects :- to familiarise the European ear witht the poculiarities of

LAWRENCE D. PHILLIPS, Oriental Music, to help the people of tho country to understand European Notation, and to appreciate the beauties of Harmiony ; and to Scholar of the Royal College of Music, London, record the music of India which is fast fading into decay. Associate of the Royal Academy of Music, London. It is a somewhat comprehensive programme, of which the third part would appenr to be the most worthy of support. Prom the MOSICAL COURIER reproduced in tho A complete and trustworthy record of the musical productions of MADRAS MAIL, of the 12Th, October 1995. India, with descriptions of the iustraments used, and the manner in wbich they are manufactured and played, and accounts of the principal idastors of Indian music, will be of great value to Orientalists, as, with The great work of Chinnasnwmi Muduliyar gives a fairly cloar the exception ** of Captain Day's work, no such record cxists. sposition of ehre principles of Indian Musie as it is practised to-day ; The Enropean ear, with its provious training by the European scales imt like most Orieutal productions is unsystomatie * and abounding in itrolevaneige t The language has one characteristic with the ancient and divisions of the octave, is not likely tt to appreciato the Oriental

theorists, it is Howery and enthusiastic but not scientific. * scales und divisions; and on our keyed instruments, as at present tunod, it is not possible to render Oriental music correctly or to How odd it suoms to one who has beon nurtured on the dry describe it in European Notation. tt On instrumonts of tho lechnical langungo of Cherubini t nnd Prout, to find sontonces like Violin family this musio can bo playod, bnt in the pages boforo us no s s these in a toxt book .* indications are givon in the notation by which this ehould bo done. " It has always been the exclusive privilege, &d., .... ,.Sarasvati."$ With a specially devised T notation, Oriental musio conld be Dah leqwor bny'a " Blogr" and indilges in n few high ronderod on such an instrumont as Mr. Bosanquot's Enhnrmonic worded reflechins ou the suitableness of one of the stanzas for describ- Urgan, but, na we have said, turopeane are not'libely t neriouply t ! ing the present Music d India. adopt Oriental Musick

"Tho bentimiuots, &e., ...... doomed."-(Paras. 1 and 2 of the To attempt to teach Harmony to the Indians from the starting point Jntroductimm. of thuir own mnsio would be "ploughing the sands," and it would bo far ensier for them to nppronch tho subject as a soparnte acionco, and But wi can casily overlook these little bursts of pnetio sentimont- to study tho European text books. Il lity, t even if, like tle vegetation of India, they are too lnxuriant. "Oriental Music" is evidently the work of an The great value el the work lies in the namber of native melodies it contains, most of them boing for the first time printod in Luropean enthusiast, and the record being made is a VALUABLE*

Imtation. We in England know absolutely nothing of he Music of" addition to the literature of a little known subject.It is

India; and so ennnot judge of the accuracy with which Mr. Moodeliar only by tho investigation of Eastorn music that we shall be ablo to has transcrilwd tioso ancient tunes for us, but I feel sonvinced that understand the music of the ancient European nations, and if sotne discrepancies should be found, they will be ou account of the Mr. Chinnaswanii Mudaliyar will do GOCD* work for awkwardness of our system of notation, expressing these strange science in continuing what he has so CAREFULLY com- melodies, rather than in any lack of ability or want of care on the menced. We would draw his attention io Notes and Queries on part of the trauscriber. Athropology, Chapter XLI, whioh he will find to be an excellent guide The accomplishment of Mr. Moodeliar is a triumph to the requirements of science in tho matter.

of perseverance and undauntable courage. All honor to him! .. Onptuin Day's work contnins absolutely nothing of the real musio of India. CLARENCE LUCCAS in the Musical Gourier, Notwithstgnding, his conscientions labours for ovor eight yeare, his nppehls to Nntive Courte, do; he has not succeeded in reproducink anything boyond u fow, street.ballads and dittien and hns inoroly conurmod tho oxtract in Elphinstone'e History of Indis . Iinty lematic; not scieatlnc ;- Tezt book. . The Introduction to "Orienia! Musio" from the Oriontal Quartorly Magazino of Deceinbor, 1825, Vot. I pago 208. "The only waa not inteuded to be n tert buok, bat marely a speciou of Advortisement, to draw tho natiye aingors and players whom Europeans are in. the way of hearing, in most parte nitention of Um Kurepran poblie forcily to this munh neglented, sid undeservedly of Tadis, aro rogorded by their scieutiflo brothren in much tho same light un a despised brosh of Oneutal erudition; tho stylo udopted bul theteforo absolutely no ballad-singer at tho cornor of the street by the Primo Soprana of the Italian Opurn." pruteutions to scieutife adcurary or analytical procision. Vids howovor remarke uudor. # Tho rondering given of TYAGAYYA'S UPACHARAMU JESEVARU and a few other T Jrderencie - It is soldom that the camal reador dives into an o a the doptha of tho pioces, in which an nttempt at classical music has beon made is alone sufficiont to confirn. nut-of-the-way rowmr.hes, which appsur be essential to a writor on a recondite dubject, this assertion. liko the presont, whors all sorte of criticisins, oppositions, and ditticulties have to be tt Tant pis pour eur. anticipated nod anwwerod beforehand to prevent misapprehenaion. What appears.to be irrelevant to an impatient eritie on a cursory gisnoe over a book proves to be not only tt This is n completo hallucination Nothing but want of skill and patienco iilispensable, bus quito insuficieut to an interestod enquirer and an enthusiastid ndmirer. cotbined with prejndice on tho part of Enropean musicians has led to this fatal error. Mil that the Native wants to know ie hors de comibat for tho European and vice versa: g5 No indications aro nocessary. A provious hearing of the molodies from trained n writer hns to nstisfy both, if at all ho is to do his daty proporly. experta may greatlyi onhanco the onjoymont, but otherwiso the writton notation is t Dry icchnical language-Poctical Sentimentality. Life has onough of dryness a sufflolont guide to the ossonce of tho written music, provided of courso painu are tnken already with ail its technical ditticaltiee. It is a mistako to make the Divino Art a dry to stndy it and grasp its moaning, as in the cace of all European Musio. study. It is mennt lo plosse, not to teaso; and aa tho driest worker requiros rolarntion TTA fow additional symbols outaide the real staff notation aro all that is neccasary and amuscniont, it is 1 wt to mako the process of sequiring a taste for musio ns pleasant, and theso havo beon devised (Vide Explanatione of Staff notation symbols.) poetical, and sentiviental na possiblu. Vide chapters on Harmony in tho Prolade to the Academy of the Divine Art S This urprars t in tho fniroduction, but in the Appeal to Native Princes, and the Instruction Book.u "Regeneration ftriontd Wusie" Thia proves how cursorily tho book has boon reriowed. "Glorta, laus ef honor TIBI sit, Res Christe Redemntor, 4" Be TPINE the gluiy, sid be miue the shame." A.M.C. Cui pucrile decus promit hosanna pium," A.M.C.

OPINIONS OF THR PRESS, elc.(Continued.) 233

Letter from Mn. A. WEBB, M. r., to. A. M. C. rhythmic standpoint, und this criticism rovenls tho limitation of our 9, GARVILLE ROAD, modern art, based upon harmony or the combinntion of musical suende, Dublin, 24th June 1896. and the restrictions to its dovelopmnent in certain direetions. doa; DESR SIs, which, owing to harmnonic necessities, modern Europeans may not lok. I hnve been much concerued at delay about reviow of your Music. The musical art of India is best conaidered in its Southern It looked so. much as if I had neglected my promiso to you. Enclosed manifostation,: purer thun that of the North, whero Persian and recoived to-day is satisfnetory. Mahommedan iuflvences havo served to, modify it. In its preseh Yours very truly, aspect it is rather Dravidian than Sanskrit, although elaiming a Sauskeit ALFRED WEBB. origin, and this conneets it with nucient Greek mude proeinely 4. t Seuskrit lonpongo ia rolatod tur tho diloets whinh tormed the boiguago ul anciout Urooce. As iu the old Greek, so in Indian music wo find an Letter from ME. A.J. IUPKINS, F.S. A., to Mn. WEBB, octavo divided iuto twelvo semitonos, just as in tho modern pianoforto 100, WAEWICK GARDENS, which corresponds exactly with the arrangement of the freta of tho Kensintgton, 24th June 1896 VINA. There is also the prohibition to let more than threo snch chro- DEAE SIE, matic notes succeed,or be placed togethier. In both aro the still finer From various causes, one of which was my desire to conscientiously* divisions into quartor-fones, in moderu India usod only for graco; but read the Indian Book beforo reviowing it, my promiso to you has only in anciont Iudia as in Grecce, but with a slight difference in their recently boen accomplished, and the M. S. has been in the hands of number, as the quantitativoly smallest touo-mensurement. Agaiu there Messrs, Novello & Co., tho publishers of the Musical Times, for the last are tho Diatonic modes of tive tones tud two semitones in the ten days. It being a rather long reviow, some 1000 words it will not octave, identical, in Grecce and Indfa, altbough much morc diyersified and numerouts in varicties of position in the Jatter. appear until the August number of that Magazino. I shall be. out of Our author does not venture too far ia claiming the origm of Greek town then, but I will direat thom to send you a copy and also one to 'music, already allowed to be Oriental, for Indin. The old Greek lod the suthor. no aversion to the tritono-it characterised the Iypdydinu and Mixo- T rather wished the Athcuroum to pablish it, but as I wauted Mr. lydian modes; nor, has the Indian. Thirty-six of his seventy-iw .. Maccoll to promise me space during the next two months, he wroto modes are distinguished by its presence in sho lower totrachord; but to me that it was moro than his engagoments would alloy him to do. with the Indian, unliko the Greek, whoso Lydian modes were reckoned

The Musieal Tiues is the best and widest circulated musical paper, plaintive, the modo KALYANI, which starls with the tritone or sharpe fourth,, is the merriest and liveliest of all. In Greeco tho and I frequently contribute to it. chromatic t was a melodic fashion only, in ludin il assumes in :f The bouk itself I huve found vory. intorosting, apart from tho importauco that is fundamental, the f MAYAMALAVA technical matter, and I hope my review will make this cloar. GAUĻA or written without transposition sigus- Yours truly Tones A. J. HIPKINS.

Letter from Me. A. J. HIPKINS, F. s. A., to A. M. C. having semitones next. to the limiting notes of the tetrachords nnd 33, GREAT PULTENEY STREET, minor thirds between them, is the most favouted moie, the first taught. Near Piccadilly Circus, and the one the Indian, according to our author, is madly in lovo with. Lundon, 19th August 1896. It is obviously melodic and the notion of harmery ean have no placo in DEAR STE, it. The Indian dolights also in tho old Grees Dorian (HANUMA I havo sont for you two copies of tho Musical Times containing TODI) in which the somitone occurs as tho firss interval ascendiug- u review or ruther article, J have written, upon your ADMIRABLE book on Indian Music. I am, Dear Sir, Toncs Yours very truly, This mode might lend itself to harmony, but notes sounding together A. J. HIPKINS. are absent throughout Indian music with the exeeption of drone notes;

P. S .- The Masical Times has a great circulation, extending to -tho "Point' d'Orguo" we haye inherited from the far Nast, tho porsistent fourth, fifth, or octave upon which a melody is played, as in America. the drone of a bagpipe or hurdy-gurdy:

Eatract from the MUSICAL TIMES, Ist August 1896. It would require a more searching investigation than can he

INDIAN MUSIC. entered upon here to identify or compare tho Indian RAGAS or melody types with the Greek Nomoi; it is possible that liko cauces may have

A treatiso on Indian Music, particularly.that of the Southern led to thoir common invention although tho development may have

Indian or Karantic music, entitled "Orieutal Music in Europtan beon difforent. The firstfare of Chiunaswami Mudaliyar appears to

Notation," with words in Euglish, Telugu, and Tamil characters, edited be the collection, by means of a suitable notation, of the national mnusic

by A. M. Chionaswani Mudaliyar, M. A., printed nt the Ave Maria of Southern India. To best. aceomplish this he has had to choose a

Press, Pudupet, Madras, and published in 1893, shows prominently suitable system, aud aftor considering tho uative literation, the German

aud yet unobtrasively the advanco in Musical kuowledgo and criti- tablaturo, tho English Tonic Sol-Ja, ho dismisses them all in favor of

cism mado of yccent yeara in Indin.' This extensivo work has been tbo common Staff notation, finding it for his purpose the hest available

anticipated, so far as English readers are concerned, by the equally -- malleable, clear, and all-embrncing. Tho time, speries, and vahies of

comprohensive one on the mune subjeet by Captain C. R. Day, of the notes aro moro diversified in Indinn than in Harpean music;

Oxfordshiro Light Jafantry (published, beautifully illustrated, by richness in rhythmic devices being fettered by the necessifies of

Novello and Co., 1891), whe avniled himself of tho opportunity Indinn harmony ; but the Steff notntion is ndequalo to tho representation.even

service ufforded him to thoroaglily investigato the subject aud suffici- of Indiun rhythmic exuberanco. Thero are thirty-fivo TALA composed

ently cover the ground. But the troatiso of Chinnaswnmi Mudaliyar of fivo species of time multiplied by seven classes of nsisurement-tho

presents a new side to that based upon harmonic music we are accus- fivo species being Quadruple, Triple, Septuplo, Quintuple, and tomed to, the latest of all the arts, from which eminence we are too Nonuple. The last three are unrceugnised in our time systems. apt to depreciate all nou-harmonic systems foruing, amongst others, . Vide moro exhaustive criticisms and disputations ou this sulgoet in the P'reludo tho melodic art of the East at the preseut day as well as the music of to tho "Acadomy of the Divino Art." the pust of the whole world. The educaced Indian of to-day criticises our modern harmonic art from his non-harmonic or purely melodic and + This is u misapprohonaion : a chromintic seale properly so culled weeends nnd doscends throughout with tho interval of a semitono only; in the MAYA M.ALAVA GAULA, tho somitones occur only at every alternato step, heutvet to the estromes * No roviowor can havo porsibly boeu moro consciontioos, or done greater justico to tho of oach totrachord ; tho other intervals being 11. 1 aud 11 tones respectivol .. aubjoct : overy pecidiurity has been thorougldy grasped and cxhaustively dealt with $ Vido Sceno VL, pngo 7 of the Prelude to the Academy.

OPINIONS OF THE PRESS, etc .-- (Continued.) 117

MUSICAL TIMES :- (Continued.) Eatracts from the MADRAS,TIMES, Dth Seplember 1896. Naturally, whore melody is nlone cultivated, it tends to a diversity and The work by Mr. A. M. Chinnasawmy Moodaliar, M. A., is a luxury which Harmnony does not allow. Onr author explnins with monumental one on the subject of Indian Music, but with ita much clarnexs why Europeans dislike, or fail to appreciate, Indian Western notation it appeals especially to Western readera, who, in npito music. lle says they rarely hear it in its' rofined expression, and of the unknown benuties of Iinnn Music, are not to be tured to nn quotes an Euglishman,* an able musician, who, aftor fifty yenrs' apprecintion of ita charms, and Mr. Chinnasawiny Moodaliar', Book residence in the country, could say : "I am quite ready to believe that therefore has not reached the famo that its careful composition desorves. there is more in Oriental music than Westorns give it credit for. I know 11th September 1896. that it possessos very pretty melodies, and though, I confess, I for a long time thought, in spite of my wish to find the contrary, that In a leader a few days ago we referred to A. M. Chinnasawmy anything liko refined artistic musio was not be heard, I must Mudaliar's "monumental work" ou Indian Music, and we ire glad to tell you that about a year ago I was most agrecably disabused of my see that the volnme has been made the subjeet of a very appreciative fancy on hearing n Tanjore musician whom I met in the railwny play review in the Angust number of the Musical Times, and has been sct and sing on oue or two instruments. Ilis execution was admirable, down by the reviewer as "n very remarkabio book, whether as the melody charming, and his singing and accompaniment excellent." written in English by n native, or as n contribution to that store-house wherein is gathered all that can be fonnd coucerning tho most ideal A similar experienco befell the present writor somo ton years ago of the Arts." The "India in Jondon" exhibition has evidently dono when there was an Exhibition in Regent Street announced ns India in something for Indian Musie, for the accomplished reviower confesses Londen. One of the excellent native musicians engaged there, a VINA to having been astonished by a VINA player from Jaypore, who Fiayer from d pore, perfurmed upon his iustrument with an expression "performed upon his instrument with an expression and virtnosity that i wte the chartaed and astonished, and this entiroly charmed and astonished, and this entirely without tho aid of harmony." without ih:a lvi harmony. Onr author nrges upon us to remember It really is a beantiful instrument, and with a little more of " India in that our Westere perfection of style is chiefly due to the possession of n London," the VINA will be disputing with the banjo for the public written language for Music, more capable of definite expression than fancy : meanwhile Mr. Chinnasawmy Mudaliar is continuing his musieal the written systems of any of our European languages. He continnes. Apostleship,* and in order to make the subject as attractive ns " Not only has the Eastern no writton language of a sufficiontly possible to his countrymen ho is bringing ont a companion volume to his " Oriental Music," entitled "The Academy of the Divino Art." intelligible type for his music, but he is barely able to understand, ' much less to master tho endless subtleties and intricacies of the We have received an instalment, and if the pleasant conversn- Celestial art as cultivated by his ancestors ; he is overwhelmed by his tional system into which the science of the "Divine Art" has been strennous endeavours fo retain in his memory and hand down to posterity. drawn up fails to attract the Indian Singer to a systematic study of the unwritten melodies of his grent masters, mosa of which he has learnt' Indian Music it may be taken that certainly nothing will. Meonwhile solely by the car and in a mntilated form." Mr. Chinnasawmy Mudaliar is deeply in earnest; he is in love with his work, but he very naturally finds it " sickening to work all alone, sacri- Why Orientaly do not appreciate European music, he surs, is ficing health, time, and memey, withont encouragument of any kind heranse they are soon tired of the constart repetition of the major and from aaybods"? Bot he tells us " I hare done my best," and arstredly. minor seales, are confused by accidentals, and by modulations which if Indian Mnsic is to lire and to be recogaied as & system, :: will bo upset their recognition of the piteh or key to be observed in a compositiou. due in a great measure to Mr. Chinnasawmy Mudalizr's *apostleshin. The Indian may modalate throngh different modes, but his key-note (SRUTI) remnins analtered thronghout, Extract from the MADRAS STANDARD of ISth Seplember 196. "The Indian finds the avenues to his heart are innumerable, and Academy of the Divine Art" is the name of an ADMIRABLE the chords which are there struck and the passions excited are endless; journal'on music which Mr. A. M. Chinnasawmy Mudaliar, x.A., has he lies buried in an occan of ever-varying delight created by his started. It is described to be "a series of" &c. In this journal numerous modes (MELAKARTA) and melody-moulds (RAGA), and is Mr. Chinnnsawiny Madaliar makes an attempt to popnlarise the seieuee unable to appreciate the more warlike and spirit-stirring excitement of music by writing a dissertation on it in simple language in the produced by a combination of simultancous sonnds, however sweetly or dinlogne form. The sceno is Inid in "n mnsio ealoon," &c., an extremely coneordautly mangod ia in Raroponu harmony.' dolightful place truly. Here the converiation on music takes place Auother noleworthy difference between Indian and modern between "n profes u," &c. The dialogue is cleverly con-

European iusic is in the use made of the voices of men and womon. ceived and ably written and is rendered extremely

Tho Indian runs them together, as no donbt the old Greek ran them interesting by the crude and jocular observations of a staimering

together, thus materinlly restricting the vocal compass. The European clownish punster. Mr. Chinpasawmi Mudaliar has already established

eparates and distinguishes them from the requirements of his harmony a reputation by his " Oriental Music" which was very favourabiy into bass, lenor, alto, and soprano. It is true the Indian mayt givo a reviewed in the Musical Times by Mr .. A. J. Hipkins. He has devoted

chorus to low voices, another to high, and reservo stanzas for medinm a large nmount of his leisnre and spent n considerable amount of vowes, but the samo melody runs throngh cach variety of compass, money in publishing his work on ' Music'; bnt unfortunately, fer want from tho lowest buss to the highest troble. of snfficient patronage and apprecintion of his work by tho public, Mr. Chinnasawmy Mudaliar is a much peorert man to-day tinn when As alrondy said, the Hindustani music of the North of, the Indian he commenced his work on music. Io is dispirited and Giscournged peninsula differs from the Karnatic through Persian and other foreign as is evident from the self-condemnatory foot-notes he gives in his ndmixture, and is hecoming grafted upon that of the Sonth, which "Acndemy" to such lines as " If it do come to pass, That any man turn nativo musicians deplore. Still the monodie style prevails, ns in ass, Leaving his wealth and ense, A rtubborn will to please;" never- P'ersia and Arabin; and with a fundamental difference also in China, theless, his intense love for music has goaded him on and the result is Japan, Java, Siam, and the Iindo-Chineso race gonerally, who differ the present work. from the Indian in not accepting the Dintonic scale in its pure form. . Nomen APOSTOLICUM dare, qui dignaris inepto, Enough has probably been said to show that we have under notico Retiaque ef pisces et cuncta relinquere cogis, A VERY REMARKABLE BOOK, Da nires patriam ad cultum conrertere'verum, Ut sine fine Tuos solum pis cantet honores a ether as written in English by a native, or as a Hoa per OPUS MAGNUM, MATRIS MONUMENTA fatorum ! a. tribution to that store-house wherein is gathered all t Poorer Indood by no leas than Rs. 28,205-6-11, vi: at uan ho fonnd concerning the most ideal of the arts. Ra. A 1. Avo Maria Press and materials 7 9 3. Stationery 3.730 10 .Tho very Rovd. J D. W. Scwell, 6. J. 3. Remnnoration to Musicians 4,225 12 6 4. Houserent ... 0 0 Artis, ifhe . hooses, bnt he does not do so, the samo voico having to sing tho highest of the ANI-PALLAYI, an well tho lowost ones in the P'ALLAYI and CHARANA. 5. Intereat and other charges 5. Pross Establialment 4760 11 Musio Establishment 8. Miscellancous 341. Total up to 31st Maroh 1897, extindiog personal Labonr 28,205 0 1)

OPINIONS OF THE PRESS, efc .- (Continued.)

MADRAS STANDARD .- (Continued.) We have seen one number of the new serios, and That Mr. Chiunasawmy'" undortaking is usoful thoro is no doubt we can safely say that the scheme is both and he will be ablo to do it successfully only* if he is patronised by NOVEL AND INTERESTING. 235 some of the enlightened nativo* princes in India. If Mr. Chinnasawmy yosrus for pudldio* patronuge, wo aro afrald lio will bu aguln din- Burupuau Musiuians iu :Iudin huve frou time to time been found appointed .* to tako an interest in Oriental Musio, witnoss Captnin Day, of tho Orfordsbire Light Infantry, whose scholarly work is published, beauti- fully illustrated, by Mosars, Novollo Ewor and Co .; Monsiour Spradiot aleo somo yours ngo producud, with tho assistance of Mr. M. Seshagiri MADRAB MAIL, 16gh Beptemiber 1896. Sastriyar, M. A., a clover little brochuro on the subject, "Notes on the principles of Hindu Muaic," and Dr. O. D. Macleane, late of the Madras Civil Seryice, a mosticlever scientifio and practical Musician, also took We reproduce in another column the greater portion of a sympa- a warm intercat in tho subject. thetio artiole that appears in The Musical Times for August un the MAGNUM OPUS of Mr. A. Chinnuswami Mudaliyar, M. A., THE ARTICLE IN THE MUSICAL TIMES IS "Oriontal Music." Herr Friedenthal, the eminent pianist, whon on a SURE TO DRAW ATTENTION TO Mr. CHINNA. visit to Madras some years ngo, wroto to us in high terms of Mr. SAWMI'S HONORABLE LABOURS, AND WE HOPE Chinnasawmy's work, but it is a melancholy fact that tho people of THAT THAT WORTHY GENTLEMAN WILL SOON his own race have almost entirely ignored the monumental labours upon which this enthusiastio follower of the BE ABLE TO PROVE IN HIS OWN CASE THE Divine Art has spent nay, as it would appear, wasted, TRUTH OF THE DICTUM THAT his time, his health, and his money. It has been the aim and object of Mr. Chinnagwami t ovolve order out of Chaos, and "A PROPHET* IS NOT WITHOUT HONOUR while strictly adhuring to the M sical rstem of the Hindus to accomplish the task of recording in permanent form and with absolute SAVE fdelity the traditicual airs of Indin. The initial difficulty that had to be faced was the want of a suitablo notation; but Mr. Chinnaeyumi IN HIS OWN COUNTRY." boldly applied himsulf to forming a complete record, in what is kaown as the " Staff Notaton," of the whole of the Musical productions of the East, "from the most classical styles to the commonest duscriptions of popular reels and jigs." His object in undertaking this work was * Domine, non sun dignus ut hoc DICTUM quod de Tuopte opcre, throofold. First, he wished to familiarise the European ear with the de Tuapte patria et de uopte populo pradicare dignatus es, de vilissimis peculiarities of Oriental Musie; sucondly, he desired to help the people meis Incubrationibus dicatur: sed quoniam omnia oe oratione solum et of the country to understand European Notation und to appreciute illustratione Spiritus Tui Sunotissimi et sub ooumbratione MATRIS mex the beauties of hurmony, aud thirdly, he contemplated perpetuating Sapientissima edoctus sum, Tibi soli redundet omnis honor, laus et gloria ! "in monuments more dnrable than bronze" the exceedingly artistic "Tu, qui linguas infantium facis disertas, linguam meam erudias, atque and scientific Music of tho land. Having put his hand to the in labus meis gratiam tuw benedictionis infunde. Da mihi intelligendi plough, Mr. Chinnasawmi went steadily on, never look- acumen, retinendi capacitatem, addiscendi modum et facultatem, ing back, meeting, however, with little or no support interpretandi sublilitatem, loquendi gratiam copiosam, ingressum instruas, from the very people for whom he was chiefly labouring, progressum dirigas, egressum compleas. Tu, qui es verus Deus et homo : viz., his fellow countrymen. It is possible that a jealous guard- Qui vivis et regnas in sacula sæculorum." ing of the treasures of Oriental Music, born of tradition, may have restrained socmn from regarding with favour so radical a movement, Et Tu, O gloriosissima, prudentissima, et suavissima Mate but it is more than possible tha: Laziness, indifference and MARIA, Oculus Prophetarum, Sedes Sapientito,-quam " Dominus, general apathy were the chief, causes of the want of Fous luminis et supereminens principinin, possedit ab initio viarum appreciation which Mr. Chinnasawmi and all liberal- suaram, antequam quidquam fucoret a principio,-quw ab wtorno minded musicians so bitterly deplere. ordinata es, et ex antiquis antequam torra fieret-quw aderas quando præparabat colos, quando certa luge et gyro vallabat abyssos, quando In adapting the Stiff Notation to the requirements of Oriental circumdabat mari terminum suum et legom ponebat aquis ne transireut Music, Mr. Chinanswami hns tnkeu libertiest with key siguatures, fines suos, quando appendebat fundamonta torrw,-quw cum co eras which iu our opiniou somewlat militates ugainst the value of bis work. cuncta componens, et delectabaris per singulos dies, luduns coram eo All key signatures should, we think, have been left untouched, the omni tempore, et ludens in orbe terrarum." uecessary alteration in the seales boing made by accidentals. But after all this is a minor matter, when we rofleet that Hindu Musio has Tu, qua sola es Mater Umiversitatia (LOKA MADĀ), cuncta at last, by the naalded vferts of a llindu gentleman, been presented componons, cuncta dirigens, cuncta edocens, et seronissima illa luminis to the eye in wa intelligible form. At preseut, only a very sinll mater, quw animas omnium veritatom amuntium illuminas, quaique portion of the mielodies of aot.a.ru ludia have beon actually printed solam invocabant omni temporo gentes porpolita et exculta, variis and published, but Mr. Chinnasawmi has. been ut enormous expense quaiquam nuncupationibus, variisquo figuris,-ATHENAM Mcllenes, in reducing the whole of them to writing preparatory to publication. MINERVAM Quirites, SARASVATIAM nostratos ;- Although tho published portion appears in a very attractivo form, there is, the comnjeler slly informs us, absolut ly no domand forit. Tu, quam huic prucipue Arti Divina, glorio Divina aptissima w form of tle work is now in hand, aamely, "THE coterisque longe pracellentissimw proceres mow patriw prudenter ACADEMY OF THE DIVINE ART," which is to bo issued præposuere ;- proptereu quod pictores tabulis depingentes, quaternist in a series of pseudo-drniatie musical disputations in 72 divisions." Te manibus etiamnunc effingant, suavissimam nostram LYRAM t ambabus tenentom naturalibus,-aliisquet duabus athereis, Rosarium una sanctissimum,-turibulum altera odoriforum,-cum pavone cantus r This opinion, based on a , ight misapprohenaion, is very tanch rogrotted .. As wiil be et pulchritudinis principe a dextris ussidento Tuis ;- ita ut semper secn from tho Divpulations in t. Academy, accidentals are prohibited ic Indian muelo Omnipotentem laudibus et honoribus Te sola dignis et idont dec nn cheir intery on in the middie of the stavo would giro not only taro et sine intermissione glorificare videaris. inost abominab ok to tho muaio itsolf, making it a sbappioas 'nongruouu indigostibla miattur, but deatroy tho vary lile aud esacr Tho -paronthcaos cuv the stom, from a esiontitio point of viow. clearly show that the Tonio alwaya remt toy siguaturcs and the obord O, G, o, . Not st alL Numquid ego minimum ex nostratibus expoctavi ? be position of the dais and sharps on L. J, potwithstanding any changes in margin, it is menn. that A dat sbould uot . T axctaple, in the cane cited in the the Tonin as in European Mugio, In Te speruvi soiam, Omuipotontis Supplex ! Auducter modiia immerkus Huotibus, inno but that C, G, c, with thu :: uaual poaitious ia iral kuy ahould stand immutablo and be taken as Touie ond Dominant in this case, s well as in u.ll Indian molodies folling Semper, AVE, Stulla O maris, "O SANCTISSIMA" cantaue ; wuder the 73 parvot modes and 1001 derivat;ve molody-moulds. (Vide, Sceno VII. Naufragiom passo properus oatendore portum l pago 17, col. 2 of the Preludo to the Academy. # Numquid hoc rongie ridiculum aut sbeurdam quam Patrem Omnipotentem 1 tare ut senom barbatum ot docropiium, " cus oflmto frigent in corpore virea" i

OPINIONS OF THE PRESS, LETTERS, etc .- (Continued.) 536 1-1

Eu, que sela in hoo OPERE MAGNO suscipiendo, excogitando Letter from A BUTTERWORTII, EsQ., L.C.S., Under Sccretary to csacuuend et cousummando milu sempor adstitisti, illuminationes ot Goucrnment in the Departmente under, the Chief Secretary illuetrationes afferons mirificontissime et opportunissimo omni ex parto recondita et inopinata,-et præsertiu in traducenda hac Musica diffi- and Acting Dietrict and Seesions Judge, Bellary. cillima et transcribondn facultutem mihi quandam raram ot incredi- ADAYAR, bilem inspirnsti, ita ut peritisaimus in bin studiis quidam et eximie DEAD SIR, 25th Dacemter, 1800. poollentissimus exclamarot,. "Siquidom trinscripsisti nt dicis, nuditis solum cantoribus, tu es vore, inqnamn, the most ertraordinary man on the T write to thank you sinceraly for the advabce copies of your latost jare of the carth",-idem qui nune prophetam mo nuncupat,-quapropter work which you havo so kindly sont mo. I uvderstand thas this is only nomet Tuum cantare possum cum Flacco appositissime- an, instalment and that other numbers will be periodically issucd. If ANGU, "principis Orbium this is so, I shall be happy, indeed I shall feel myself honouni, to br. Dignatur soboles inter amabiles ndded to the list of subscribors to the work. * VATIM ponere me choros: I rend with regrot whnt you may nhont thry immnonan crjonn, thn Ei jam donte mims mordoor invido. O, TESTUDINIST AUREAS, pnin and troublo to which you have been put as a conscqueneo of gour Daleem qum strepitum, MELLEA, temporas, attempt to denl with this intricate and important subject, and concern-

O, mutis quoquo piscibus, ing tho want of appreciation which the public has shown in respect of Donatura cyeni, si libeat, sonum 1 your offorts. Tolum muneris hoc Tui ost, I am unhappily no musician myself but I can seo plainly that you Quod monstror digito præterountium must hnve devoted onormous labours towards the attainment of your KO.E fidicen LYRA object and every one must admire* the public spirit, devotion Quod spirn et placeo, (si placeo) Tuum est. and knowledge which yon have displayed. I saw in at paper. Ior. Od. IV. 4 recently, either an Indian or an English ono ([ think the latter), an Qaapropter anagumue litera et Nota Musica qua hie imprimitur apprecintive reference to your labours and I cannot believe that the sine tine decantabit AVE. AVE, AVE, MARIA, et omnis deleotntio money and timo yon have expended have beon wasted and thut "no quam aliomgena et generationes fatnr ex his cantibus percipient ad majorem nominis tui solum gloriam rodundabit ot honorificentiam. public service has been done."

Ta. qoa: sola es rupes constantiio mem et anchora confidlontio, Original and vigorous work of any sort can never be Th, muater pulchem dilectionis et timoris ef ngnitiouis et sanctio spei, useless and even if the result of your arduous toil is not cHtu: SINE AUXILO SPECIALISSIMOt NE UNUM QUIDEM fully appreciated at once, the time may come when your VEORUIM RECTE SCRIBERE AB INFANTIA POTERAM, NEC name will be mentioned with the honourt which is due to POSSUM NEC POTERO et "cujus piissima intercossiono plurimi, a man who has resolutely set himself to explore an quamtumvis alioquin ingenio rudes mirabiles in sciontia et pietate fecero unknown and trackless country. prugre -. ns." Tu. qum sola docuisti Apostolos, Augnstinum, Ambrosium, Ansel- Of the Madras School of Music coutained many such:

mum. Allwrtnm, Alphonsum, Aloysinm, Antoninm, Aqninatem, cunctos members I have no doubt that it would carry a high

qee nlins non solum mellifiuos Ecclesire Doctores, sed Musicos etiam reputation for original search.

magistros-sieut Haydn, oninem de Sanetissimo Rosnrio inspirationem I havo alrendy said that I am in no wise competent to express et Jumen exhaurientem ! any opinion upon the work to which you have so zealously dovotod "To studiorum hornm nræsidem ac patronam iterum et iterum the FE W hours you can spare from your official duties, eligo, et per materna pietatis tum viscera, ot maxime per æternam but you may be sure of my warm interest and sympathy. illam Sapientiam, que ex Te carnem nostram assumere, Teque supra omaes sanclos colesti lumine illustrare dignata est, humillime exoro nt mihi Sancti Spiritus gratiam Tua intercessione obtineas, itajut omnia . GLORIA in excelsis DEO et par heminibus bona voluntatis. + Laudamus Te; Benedicimas Te; Adoramus To; Glorificamna Te. Gratie agimna ingenio assequi, memorin retinere, vita et eloquio exprimere aliosque Tibi propter magnam gloriam Tuam. docere possim, quie Tibi et Filio tuo honorifica, mihique et aiiis ad 1 Quoniam Tu solus Sanctus, Tu soluo Dominus, Tu solus Altiesimus! æternam telicitatem sunt salutaria. " Deus, qui corda fidelium Sancti Spiritus illustratione docuisti, da nobis in eodem Spiritu et per eandem Matrem RECTA SAPERE et Letter from Mr. T. SIVARAMA AYYAR Sle coram semper consolatione gaudero, per Christum Dominum nos- Managor of the Ettayapuram Estatu. m, Amen." 21-2-97,

'L tea am= Rgiun Praphetarum ot Rtegina Apostolorum. ETTAYAPURAM. * Totode Auream Lyra Indicn=VINA MY DEAR SIR, : Oratie pacritis quo perpetuo in labiis meis ab inmunte totate volutabat, ot semper I owe you an apology for not having roplied to your letter earlier. antequam qu lyuam mingnam suaciperein ferveter renevabatue I wanted to write to you after something was definitely sot.led and hence the delay. Your services in the cause of Hindu Music Ectter from the Reverend Father A. SAVERINADER. at great personal sacrifice are simply invaluable and I COTTAPALAYAM, Bien chec Monsiou have no doubtthat in times to come, though not now, your services TURAIYUR, will be fully appreciated and you will be looked upon as a (Trichy.) Le 17-12-96. great public benefactor .* This I am afraid must for the present be En lisant le "Praccentio Ersequialis" et le " Will" que vous avez your encouragement as I see there are few rich persons public spirited en la honto de m'envoyer, je n'ai po m'ompacher de pleurer, tant and wise enough to locsen their purse strings and help you in your f'etais cmnue de la manioro dont vous parlez de votre bien-aimre com- very laudable undertaking. Kindly exeuse me for the liberty I have pagne. Allens, bien cher Monsionr, j'aimo an repeter: bon courage; taken in penning the above fow lines. vous wives pas pordu pour toujours . V DULCINEA, MARIA PHILOMENA MADURAMMAL; YouS You lenow, I dare say, that the Estate of which I am at present t

15-1Eant. retrouverez un jour Manager is under the management of the Court of Wards. I rer et

Puur co qui rogarde vos travaux gigantesques sur la Musique therefore that any loan from the Estate Funds of tho kind you mer ion Oriomal j'admire d'un coto votre zdle, votre dovoucmont ot surtont is not possible. Some of us here have however, made certain aernge-

Potcy tersiéranca; mais jo deploro de l'antro'lo peu do sympathio mont for the maintenance of the Pundit. Soobarama Dikshiur at que val somtrent les Indiens cux-memes pour lesquels vous travaillez Madras so long as he stays there to help yon in your work. pn need tant. Al! que je voudrais etre millionaire pour vous donner un con- not therefore take npon yourself the burden of maintaining b i there. oours ainerens ot vous dedommager des sommes considerables quo We have made this arrangement to roliove you to some extenti id hopo vons aver deponsées et que vous dópensez encore dans un œuvro si that in so doing we hava not wounded your feelings anc taat our patriotiye !! Veus savoz quo j'aime la musique et que je consacre action meets with your approval v.lantier, mes moments de loisir a essnyer sur l'harmonium loa dif- frront ar que vous pulliez dans vos livrnisors do I' Oriental Musio. Soobarama Dikshidar will be lonving this placo or Mndras in d vee podon, d'inserire mon nom amn nombre de vos abonnes et do the course of 10 or 25 days. With best wishes tor yor wock.

ne sion abonhement wr monry order do dix roupies. Alyer, Diwan Hnhadur, C. " wonlu waro wand by the tobouruhle Mr. JE. KM. METOEA WANIA nhndur, C. !. H., when I was tirat introducet to uin by the Honoursttn Mr. P'. Rnjarathna Mudaliar, Diwan Bahadur in 1805.

99 A LAST 36 d

2. I # GROUP எ. ரப்கரம்.

SA.A.A.M.A .. M.A.A.M .. AA.MMPO FXXXXXXXX

3 SALAGI 49. DUAVALNT :M

1. 1 o ** 1 PA DHA (vii) NA SA 6 சஎ. சாலகம்: ix) / ரக. தமாயம் ஷட்சரு.9.,

73 C

3S. JALĀRNAVA 5 5 0. NAMANM AN 5 620 சதுசுருகி "சாகலி RA II. (vii) க5 இல்ரர்ணவம் DHA N1 SA

(ix). கும். நாமநாஃரப.ல 25

4 4 D தக்கும் 39. JHĀLAVARĀLI கைசிகம் 3

G1. EVAVAA III 3 III சாகலி சத்தம், சஇசுருதி (vi) 2 க.ஜரவரானி 8 NO S. மு (ix) இக. சாமவர்ர் & a 2 $ 212 2 சந்தம் சைசிகும் IQ NAVANITA O-HO IV 8c. ESS b 1 RATOL IV 1

vii 20. நவசதம் NI BA சுத்தம் சுத்தம்

N (ix) (உ. இராமப்மீ B. நி G. B A. PAVANI F 53. GAMANIS Varying notes, 1

N. திஷாதம் தைவதம்,

8A ILA:GAMU V. மாறும் சரங்கள, vii) .சக.பாயனி ச ix) இர. கமசசிரம்

42. RAGHUPRIYA' 6/ VISVAMBI சூத்தம E D PA E VI. D. XMXXXXXXMXXXXXXXXXX Common to ati. க. இயகுப்பிரி Common to all .. Varying notes, (ix) ா. விஸ்லம்பரி ம்த சர்ங்கள். Oக சந்தாரம் சுத்தம் சடிபம்

XXXXXXX

S Bos ..

3. GAVĀMBIIO 65. SYANAL. N

DHA I ...

(கரி. சியரலா மட்சுருதி த 6

G C THANMI A1S 5 சசுக்குதி SA RA GI NU PA DHA II 21 4 மு (x) த ஜி 4 21 g 4

BHAPANTUVARALI 3

31.1 சுத்தம் சசருத காதலி சைசிகம் காசலி 3 FA XA . MU PA DHA III. 21 X حكت 2 சர (x) மு குஎ. சிம்ஹேர் த 2

+G. SILMVIDIA YİRGIN 1

IV 6.8. HEVATA சுர்தம் சுத்தம இற்ரம் சைசிகம் 1 (viii) அசு, அட்விதார்க்கிஷி் NI IV

4 -5 தி.சி (x) B A.

47. SOVARNĀNGI B

48. DIA1R:4 Varying notes, நீஷாதம் தைவதம் 82. 70N மாறும் சரங்கள். Varying notes, (viii) BA சஎ. கப்ர்னாங்கி MU TA DHI. NU V. 8 ம் to ali.

30. JHALAVARALI G 1. 3 8 III சுத்தம்.

(vi ஙக. ஜாவரரளி (ix) மு 2 2 லசசிசம்

4Q NAVANITA 1 1 IV. த்தம் சுத்தம் (vil) (ix) B A

PPAVANI Varying notes, தையதிட் ததம் ٣٠ V. Varying notes, . NA BA மடம்சாங்்.

சக. பாவனி (ix) ச GHENE

42. RAGHUPRIYA b கத்தம் VI. BAT PRA % GA MU VI. D.

DIU (vii) Common to all. . 2. இருகுட்பிரியை Common to ati. மாறுத சுரங்கள். காந்தாரம் சுத்தம் ரிஷபம்

XXXXXX XXXXXXXXXXXXXXXXXXX

GAVAMBHODE 5 5. .Yİ

I. சுருத

.BIAYA 5

PA DHA x) 4

UBHAPANTUVARAL 6 7. 8

4 சு, திம் சதஈருக் 3 III. 52. DHA

சடு. ஃபப்ந்துவராளி (x) 2

மு த 2 சைசிகம் காகலி கைசிகம் எகாச்வி சுத்தம்

4G. SHANIDHA MİNGINI 5-8. 1 சுத்தம் அற்ரம் 1 1

IV. IV. BA GI MU PA NI (vii) சன். உட்விதமார்க்கிி (x) மு பாதி 82 5 B A R A. நிஷாகம் தைவதம் 1 7. SUVARNANGI மாறும் சரங்கள்.

V v. Varying notes,

MU PA DUI (viii) சஎ. சுவாாங்க (x)

4 8. DIVY/MANI 6 0. 0 E D

VI. VI. S% .GL PA DHU NU மாறாத சுரங்கள். ரீஷபம் சுத்தம் Common to all. (viii காந்தாரம் சாதாரணம் சஅ. திய்வியமணி Common to all. Varying notes,

KĀDINAVA;

SHARP.

க. சக்காம் 908 V. # GIOUP.

XXXXX

6 1. KĀNTĀMANI

I. MU DA (xi) சுக. காந்தாமணி G ஊூட்கடுத் கு மு

6 2. RISIABHAPRIYA 5 5

NI SA BA OU MU PA DHA N1 S.A

(xi) சுஉ். இரிஷபப்பிரியை 2 4 கு மு ச 4. கைசிகம் சிசுருத

63. LATĀNGI 3 III சத்சம். ச.நுசருதி MU PA DHA NU

சுட, இதாங்க 2 2 .மு 2

6 4. VACHASPATI 1 1 எ்தம் IV. SA MU NI

(xi) ௭ுச, வாகஸ்பதி நி ச B.

65. MĒCHAKALYĀNI தைவகப் திஷாதம் நீ டாதம் மறறு் சரங்கள். தைவதம்

V. மாறும் சாங்கக். Varying notes, RI NU SA SA (xi) குரு. மேசகல்யாணி

1O D

NE மாுத அரங்கள்.

சித்த பரி ரஷபம் Common to all. 8ாத்காரம் ழற்திரம்

XXXXXXXXXE

ய, சக்கரம்.

:

8 7.P UCHARITRA

TA DH NA SA RU GU SA 6 acapy ஷட்சரதி சுஎ. சுவித்திரம் வ_சரு்

மு 45

B 8. JYOTISYARUPINI சசருதி 5 ச : உருதி

SA GU MU PA DHA NI SA H 4 ச .. ஜியோ திஎலுரடிணி 4 ரூ கு நி சர்சருக

6 9. DHĀTUVARDHANI 3 கதம் க.க.ருதி டாசலி ஃட்சிகம்

61 DILA OU MU PA DHA

ஆசுக. தாவர்த்தனி 2 கு a fr

7O. NĀSIKĀBHŪSHAŅI 1 சுத்திம் சுத்தம்

PA DNE IV 20. 42 HU GU PA DIEI SA சுத்தம் கைச்ம்

எம்.காசிகாபூஷணி ரு மு தைவதம் நிஷாதம். தைவதம் 7 1. KOSALA மாறும் வரங்கள். மாறும் சுரங்கஎ். Varying notes, PA DHJNU M V. NU

எக. கோசலம். 2

NA OU (xi) சுக, காந்தாமணி C மு 6 G

62. JSHABHAPRIYA

II. SA GU MIS

கம், இரிஷயப்பிரியை

63. LATĂNGI

III .. ILI GƯ MU PA DHA NU SA

(xi) சுந. இலதாங்கி கூ மு ச 2 ல் கததம் சைசைகம்

G 4. VĀCHASPATI க 1 D 1 bb IV. A RI GU MU DRT NI 84

க௪. வாகஸ்பதி E ரி மு B. . A.

6. MECHAKALYĀNI -0 ரிஷாதம் தைவதம் தஷாதம் லகவத்ம

V. X. கண2. Varying notes, 84 RI SU

(xi) சுரு. மேசகல்யாணி சி கு மு S21 3

66. CHITRAMBAR! 4

க சதுசரூதி TO!

VL E BL GU D PA DHU NU S.A

ச. சித்ராம்பரி Common to all. லபம்

மு XXXXXXXXXXXXXXXXX <<<<< or17

சசக்தரம்:

SUCHA

QUE DM NA SA .8.0 ட்சருதி கூட்சுருதி

மு U 912 G

TYÜTISYAXUPINI LF ச்றுகருகி சாகலி ச2சருதி SA RU GU MU PA DHA NI SA 1

ச .ஈ.ஜியோ தின்வரூபிணி - 22 ரூ மு 5 0 ப. சருதி

69. DILATUVARDIIAN

SA BU QU MU PA DHA NU 74 NA

சுக, தாஓவர்த்தனி ரூ மு 2 U சுத்தம் G மதம்

O KĀSIKĀBHŪSIIANI 1 சத்தம் கைசகம் 1 சத்திட் 1

PA NI BU GU MU DIII N1 SA

ஏR. நாசிக பூஷணி ரூ மு D0.2 A. B. ப.1தப் தவதம் நவராலம் 1. KOSALA தைவதம் மாடுட் சுரங்கர். :010

SA KU GU NU PA NU

எகோசல e கு மு 4 212 .c

BAŞIKIPRIYA

IA CHU KA 25. 805 305 BU GU MU PA DRU Common to all Varying notes, மாருர சுரங்க், மறு2 காங்கள். சிஷபம் சரும் காத்தாரம் மூரணம் ரிஷபம் வட்சுருத் காந்தாரம் அத்தரம் எட. இர்கெப்பிரி ்

ரு கு J << Z << Z<N <<<<<< 2 <<<<< 02

3. 5. 0.T. 8 4 3.03.,

B. HANUVA TOD

RAGAVARTHANT சஇசருதி GI

PA

54

DRA T H.A 9. DHENDEA

3 A. GANGEYADNCSHANI சுத்தம் சதுக்குர. சாகலி ாைசிம்நீ 3

III.

TA

BA

PA DHANU ங. காங்கேயபூஷணி 2

4 21 2 10. NATAKAPRIVA

சத்தம் சுந்தம் சுத்தம் 1

IV

PA

NI

5A

TA வாக்இஸ்வரி U A B

3. A நிஷாதம் தைவதம் 1 1. KOKILAPRIYA

1

மாறும் ச:ல் -CF Varying notes,

Varying notes, G1

XA

PA

NO

SA

NA PA DII 4 லர, கோலெப்பிரிகய

10

ப்கருத 12 RUPAVATI

86.CHABADTA E Đ

VI.

. NC

VI. GI

Sr.A

TA

SA

மாறுத சஃங்ம்

GU

NU Common to all

ரிஷபம். சுத்தம் சாந்தாரம் சாதமரணம்

Common to all

(vì)

கக்ஃசல்ாாட்டை %.0.4

7. RENĂPATI

RA

NA

-5 8. HANUMA TÔI:

ச.சுருதி 6A RA . GI அ. ஹனுமதோடி DHENUKA

SUAST II 2

2. 2

2 VANASIA:1

bh WA .A.

5. MENAVATI

DHIRA SANKARABHA- Varying notes.

RANA GA NA

TA

க். நீரசங்காபானம் TANARÜPI

30. NĀGANANDINI சத்தம் VI

VI. E D

PA DRU NC

Common to all. . Varying mnotes, Common to all.

G

II GROUE

சககம் 7. BENAPATI

RA 01

PA DHA NA

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V I GROUP. 1. KANAKĀNGI

23 MĀRARANJANI I,

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10 3. GANAMURTI 3 b

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2

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VI. D E

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மத்திய II GROUE ( 12

TILEPHONE No. 3883 32, Great Puiteney Street, SHELMAERE, grams BEOA DWOODS, LONDON, 38 Near Pecadilly Circns, London 10th September 1897 Dublin, 1Fth Arist 1 w.

MY OHAR SIR glad't tho, P st Office has recovered your valuable

Yours of 18th ultimo to land. Indoed have complete. I'need hardly say I amn help you I would. I tool mome tronble in Bur lat ritings as 'well ns the book it : reviewed for you If the book won't soll thi nothing I can do would push, it off, Tt may. .preciated, that it will be aftorwards.But still ft Ana Itha py in the fact that the review lins plensed you) tho footnote embodying your approbation , as to many such onses. It is impossiblo-to forco sales. Sonduof the other footnote, the Greek chromatic was hero Iatoly, spent several tyehrs ofhia life mitonnl scale, but a tetrachord showinggtwo publishod it. He did not Boll-enongh tones and a minor third. If you read my review tising. If I could not help him, How conld I bel agai ayod will see I gave another place to theminor, i at Buch third in MAYAMALAVAGAULA. But yon will I am sure forgive distance ? ns wish to put myself straight with you. I would.not advise you to send the copies a speak o I have read your Cry of Distress "and I sympathize distribution to eminent men Tho carribgo of oa hyould 0os Fou.I'am afraid if you cannot get together a band of pa- to 10 a, a considerable sum. trons in India you will hardly gain help from England and the Most sincerely do I sympathize with vo yem continent, because Indian Music is utterly unknown and unapprecinted How small are monotary or material losses compared to such a blow Vin thistpart of the world Ieannot ask Captain Day to mako propa I do not mean to write hardly about your look. I might ganda for you, because you have expressed an unfnvourable opinion of pen soft) words and hopeful phrases. But I have seen too much ihis work. You should know that the 5 guinens charged for this book printing and publishing to be nble to put my tonl to such t is hns been due to the vory artistic and erpensive illustrations. I don't kinder to tell you exactly what I think. think his book ean hevo paid the publishers who. went to tho great Would that I could help. That is ono,of expenso they did onmy recommendation. It is unfortunate for riences of dlife, to realize.how dificult it is to help t, you that your more authoritative and complete book, mistakomntop has boon taken-and was it nota mhistakon step being a native of India, should have come out Inter.

to incur such expense without guarante of retu But I know some emiinent men 'who might help, andras portunity comes Lwill apply to them. No help however wuil i your be of any real use that falls short of getting you supported An your publications by the Indian Government. am mysele ot oduthority and have but small fnfluenco I am not however an unknown man, my writings being by some held in regard. Letters from A. J.,HIPKINS ECE I have not yet had time to read and digest the new material NoY 3883 you hare sent me. I will not neglect mnking myself thoroughly TELEPHONE 33, GamA1,PULTENEY oqunintod with it.

Telegrams .. Would you mind giving me the true orthography of these Near es of instruments. I want them for the Museumn in my care at " BROADWOODE, LONDO London, eptemt e Royal College of Music?If you would rather withhold it on

DEAR SIE, of futnre publientons, or any other reason, I shall not be

I have receivec your. letter but notthe Crv o culy the cover which, enclosed it has reached radak, Jagajhampa, Dhak, Tikara, Bom, Jorh-

the Post Offde requesting that senrch may, 6 Dholaka, Balya, Tabln, Pannba, Dampha, Khor,

successfuLh Vinh, Tamburi, Benn, Sanktika Vina, Pinaka Sruti"Vina, Gopiyantra, Sursangn,Fisrar, I am very sorry for thee gr BipanchaF Vina (Tith Lnu n' gourd) Alabu befallen you, and also for the want of success w has s thari, Rabab Radra Vina, Sur Sringara, Mabati your admirable work respecting the Mnsicd saradiy Vina, Surangi, Chikāra, Bharata Vina, I have is a grand monument to your knos na, Nadesvara Viun, Sanyogi, Sar Bahars, for communicating it to others. ge and capa Ifacatalogue is published your name shall appear nusmy Captain Day nnd myself who tako anyfintere Musio or the vowel quantities. islands. You know his beautiful book ; it hasib ad loss Yours very truly, to the publishers, who made it what it is at my eguest. I am afraid. A. J. HIPKINS we must wait for any recognition ofa subject which should have place in every Musical Colfege Curriculum Now you have written to me explaining.ydrs for any opportunity that may presen prevent trot to osition, I willy w tter.from P SDBRAMANY IYAR ESQ., ATTOKNEY-AT-LAY knows. When it is darkest dawn- mav e nbout to broak, re you. 19th September, 1897. Let us hope it may come (n our, time Ethat such men SIR,

as yourself may get encofiragement esward I extremely etthat, nol! ean be done with these havelooked at them and I do not suppose you cin I never hoard the VINA well pl most delightful impression from it, ond I she yous once, recei much more than 9,000. Undoubtedly you have paid good them but you, must remomber their present worth. I When I speak of opportunities Imit myself oreforo n you touiccopt the offer they lave made to buy tho country only. I extend my view to the Co adigai for Rs. 3,850. Plense accept it. I have sold the Sari for United States of AmericanI am very 100 toVenkatareddigarn.I have arranged with them to allow you literary department, but, so far, we one month's time to sell the other jowels and to chargo you only 9 per ber. I gladly acknowledge your rl cent Intbrest. I hnve asked him to permit you to tako the jewels each the least prodnctive, as I'fear may be one, and n by eachand realise the price you think best. I am sorry Iam unable to do more than this at present, as my friend about hom Eapoke to fot does wdoea nots fanpy any of theso jowols. Yourgl bave esp nined eferytlling to your brother. .Yours truly;At Parliament and ducud to P SUBRAMANY IYAR

ENCE, MT. Mariao pur qi'nm peribit. April 1898 dear Chinnamamy, P.C. iei parcouru voiro lettre et votro appel a vos Cos rabts card'aurais trop & dire et surtout a cootredi asrion to R.'S. Lepprr

Haoo atiogost nue failure coit, copondantao mo rincip

pien ou'en graud vombre d'ames oguregs ont tird course and our de langage's or a dirg,vrat, mon but n' par oto I dare way decrivaina oto, jo n'al jamaia ory, la cboag possi euant pare Utopio. L'elemout catholique est trop pauvro o vos raes tron clevoos Totre " Cry of distress" m' a porce. lo cour paz la penso du do tres-peu. Vous faitos un appel &'la genero aedaun mot counu.do pien p Votre graud fort dane l'entrepriso do lo muaique coin pter sur un enjoue Bour voire nouronu trenge do mualquo. Your a9 er& f iavenjeura meurunt danala plus grande paurrete reayec Alfred "war it pot a mistake shep to incur auch erpena PACHAIYAPPA'S COLLIGE,

Mals je passe a un point beaucoup plus sorioux cf 22nd April 1898. e confrme dans 'opinios Jer Iniques de ce paya-ci sont incapables do traiter nu ds tombor dana les plua grandes erreurs. J'ai lu votro.p eigieux sans courir le Tisg u aur la T. Sto, Yiut8o 9 ting le k. I am glad you

pere saps lui dire votre nom a pulne avala-je finl qu'ife Mnis o bat un blarpho Mus and getting down the old airs in moderu on no peut rion dire de plus outrageur oontro la Viergo JJo aaln qhe v knowi how much.Lehould send'Ior the book n'admettrez pas In remiarque. Mais mion ocur, eat perce d donleur trop vivea la pens I shall be glad to hear how you are yous compares la Mere Immaculee do Notre Seig ymbolea da vice time to time and to be of any little

OLquo n'aves yous goouto mea fle ous mcerol ig he vuis suoun moyen humain de Your en our rous ot vour benir in J. ras, pril 1898,

sterda got time to look over your yery. Letter from the Repd, Father J. Hindu nusic. While I am sorry to see that you

Dear Mr. Chinnas suin on collecting the materiuls, I feel- wmy, doing will one day be recognised as of the. I perused at leisuro the papers yon seu indeed a great deal of amazement o se o tle history and theory of music. Permit me to

building you have undertaken to 100), as a contribution, to the good work in which erecta us payment for the books you have kindly sent me. with your own means and energy. The call' upon to finish the work, should have been f een interested ,as an amateur in Indian But yon are already gone very fareeta ag onjoyed its snatches of quaint, molody and o four men able both to fall in gith your of technique and I feel there is a great pecuniarily. Hardly any hope m England ay about it One of the chief reusons for would certainly meet with cympathies, and fencouragemen ore appreciated by Europeans is no doubt the English books will not be welcome. America is a rich field but it receives from the ayerage musician, as you mill introduce you into that distant society. Had you Hay out in order to make your enterprise known nbr and in America, you would soon be buoyed upPeryo that instend of sovereigns you have only debt you's KNAPP, Esq

clear your debta. Sell off whatsoover you cans dou g GoulN Seorelaria Ootacamund. presont a single copy of your book ; don't use e 2l anna- tamp then try to go on with oue portioniouly of your publicatig June GtA 1898.

Dear Of innasawn It just strikes me that about 1880a ave he Jphn Stainer who has received your book. some "Melodics hindoues" whigh were ipl en that h6 had already becn shown it. The The people were quite taken up and succes is letter I send you. You may make any use onyAbbe Rawet. Why should not your Melodier too meet with success in Europe. The questi beforo the public. I'regret I never got SIR JOHN STAINER, Mus. Doc.

works ere I went to Europu. that I think very highly of his work and

You kuow French and talk it fuont) Loudon paper.

lectures ou Indian Music on the occasion of the GoltoEr

I don't think you will feel sorry for it. Did rom EGER, EsQ having a trip to Europe ? 'MADRAS MAIL,"

One more word and this is my best. Never get the situulion with a quiet inind and in the presende of God ed, face June 7th 1898.

Dear Mr Tady.The rigut inspiration will bo giyon what resolution to take for bettering your prospe Many thanka eading me Mr. Knapp's lotter to read. It is

refugium tuum. May our dear Madonna bless yon as id Wohn Stainer has publicly ackuowledged the wiis.I have not geen his notico but I will her altar. ook out for it

Letter from RAJAH SIE SAyALAI RAMASAWMY REES, EsQ., c.I. E TRAVANCORE AND COCHIN.

Stating that owing to the faming and othez dem Trivandram, 6th June 1898. d. anything rowarde the enterprits. DOR

Letter from the Hon. Mr. Justice Dewan-Baha I have your letturko ohsof Mnys ond while I much sympathise

S. SUBRAMANIAIYAR, C.I. vith you in your unde augrand admire the earnestness with which you haves pursued tho ena you have iu view, Irggrot to say that it ome, as probabay you know, to give a

Deur Sir, aness tfo Mabaraja of tho nature indicated.

.1 regret I shall not bo able to contmbuto toward gladly h lp in any way I can and muy Tuferred to in your lutter of the oth Instant nuything fir s athe rojeot

27

Notico. Notice. 24°

rery descriptipn will be printed in the Ave Maria Presa Music of every description will be printed in the Ave Maria Press

at the following approximate rates: at the following approximate rates :-

vàl Bize Rs.5 per page ot. 1G Staves, in inohes long byal Aize Rs. 5 per page of 16 Staver, ench 9 ipchex long. Mediui)

din Soloist" B. Violin Soloist"

14 4,Small

sic paper ean also be had in abundanco a wn belov Music, paper ran also bo had in abundance shown below

10 Annas per quire of tho Roynl 10 Athas per quiro of the Rora

8 Medium Medium

" Violin Sal " Vialin Soloist"

Small Small

Notico. Notico.

ary description will be printed in the Ave Maria Press Music of every description will be printed in the Ave Maria Press

at the following approximate rates :- at the following approximate rates:

al size Rs. 5 per page of 16 Stuvos, e oyal size Rs. 5 per page o e of 1G Staves 9 inches long

Lum , 31 12

in Soloist"

ic paper can beciad in abundancoat the rates shown below ccan nl bundance-et es shown below.

10 Aunas per quire of the " Royal.

8 Medinin Medin

Xiolin Violin Soloist "

Spioll

Notico. Notico ..

ry description will be printed in the Ave Maria Press Music of overy description will be printed in the Ave Maria Press,

at the following approximate rates :- at the following approximate rates :-

1 size Ra. 5 per page of 16 Staves, cach 9 inches long. Royal siZO Rs. 5 Staves, ench 9 inchestlong.

inm 12 Mediun

hn Soloist" ,, 10

13 . 40 =

paper emn ulwo be had in nhundance at the rategulown below : Muiie papor can also bo hnd in abundance the rates shown bolow:

Annas per quire of the Royal 10 Annas sizo

Medinm Medinin

"Violin Soloist Vinlin Soloist"

Small

Notico,

ory description will be printed in the Ave Maria Press usic of every description will be printed in the Ave Maria Press at the following approximate rates: at the following approximate rates :- sime Re. 5 per pinge of 16 Stuves, each 9 iuches loug. sizo Rs. 5 per pago of 16 Staves, each 9'inches lon)

um -12 19 7

23 10 6

8 4

paper can also be hed in abondance at the rates showi below ! paper can also be had In abundance at the rates shown beldw i

1 . Annas per quire of the Royal per,quire of the. Roya S1201 Medinm

Small

To 239

M. R. Ry. M. R. Ry.

A. AYYASAWMY MUDALIYAR AVARGAL, A. AYYASAWMY MUDALIVAR AVARGAI.,

Proprietor, Ave MARIA PEEss, Pudupet-Madras. Proprietor, Ave MABIA PEESS, Podnpef-Modras

Hiease euroll my uamo as a sal criber for . ... cop ... of tho monthly publiention Pleaso euroll my name as a subseriber for rop 4 ts monthl 1alde a " Orieutal Music," and forward the munbers regularly to the address given bolow. styled "Oriental Musie," and forward the mumnbers regnlarly fo the addrees saven Ve s alsu send ... cop ... of the vehne of iustructions with supplements, portfolios &e., Please also send ... cop of the volume of instrurtions with rappbment. 1eqiewu. sued frratu tune to time. ns issned from timo to time.

Ninno mn full. Niumo in full.

Oceupation. Oeenpation.

Address. Address. .

Statton. Station. Date.

To M. R. Ry. M. R. Ry

A. AYYASAWMY MUDALIYAR AVARGAL, A. AYYASAWMY MUDAMYAR AVARGAL,

Proprietor, Ave Mais Pess, Pudupel-Madras. Proprietor, Ave MARLA P'uESs, Pudnp !- Mauras.

. Pictse caroll my name as u suseriber for ...... cop ... of tho montaly publication Please enroll my name as a subseriber for . cop of the monthh pab ["Oremtal Musie," and forward the numbers regularly to the addross given Lolow. styled "Oriental Musie,"nnd forward tho numbers regularly to the addree griven 1 galo send ...... cop ... of the volime of instructions with supplements, portfolios &e., Pleaso also send ..... cop . of the volnne of iustruetions with sapphonents pnites. Coned from timo to time. ax issued from time to time.

Name in full. Namo jn full. Gecupation. Occapation. Aidress. Addrest.

Stalion. Station.

Date. Date.

w. IE Ry. M. R. Ry.

A. AYYĄSAWMY MUDALIYAR AVARGAL, A. AYYASAWMY MUDALIYAR AVARGAL,

Proprietor, Ave MARIA PEEss, Pudupel-Mudras. Proprietor, Ave Msuts Prrss, Pudupet - Mehus.

Iease enroll my name as a subiseriber for ...... cop ... of the monthly publiention Plense onroll iny name as a subseriber for cop of the monthly puti al renmi Music," and forward the muumbers regularly to the nddress given below. styled " Oriental Musie," and forward the numbers regulurly to the address given h sa dss send ...... cop ... of the volume of iustructions with supplemeuts, portfolios &c., Please also. send ...... cop ... of tho volume of iustructions with supplements, portfolio isei irom time to timo. as issued from timo to tamne.

Name in full. Name in fall. Ceeupation. Oceupation. Addrexs. Station. Date.

Ta N. R. Rv. M. R. Ry.

A. AYYASAWMY MUDALIYAR AVARGAL, A. AYYASAWMY MUDALIYAR AVARGAL,

Proprictor, AvE MARIA PRESS, Pudupel-Madras, Proprictor, AvE MARIA P'RESS, Pudupet-Mudras.

Pase euroll my namo as a suliseriber for .. .. cop ... of tho monthly publiention Please onroll my name as a subseriber for ...... cop ... of the monthly pald dej.ewntal Musio," and forward the numbers regularly to the address given bolow. styled "Orieutal Music," uud forward the numbers regularly to tho uddres, given h . al crend ...... cop ... of the volume of instructions with supplements, portfolios &c., Pleaso nlso sond ...... cop ... of tho volume of instructious with supplements, portfolios el from timo to time. ' as issued from timo to time.

Namé in tull. Numo in full. Oeenpation. Qecupation. Address. Station. Dute. ..