WITH REMARKS ON THE APPLICABILITY HARMONY TO HINDU MUSIC, · THE WITH REMARKS ON THE APPLICABILITY...

THE

WITH

REMARKS ON THE APPLICABILITY

HARMONY TO HINDU MUSIC,

RAJAH COMM. SOURINDRO MOHUN TAGORE,

MUH. Doc., SANGiTA-N.hAKA,

Companion of the Order of the Indian Empire; FOUNDER "AND PRESIDENT, nENGAL ACAD.I!lIIY OF MUfno ;

KNIGHT GRAND CROSS, COlI1lIANDlm, OR CHEVALIER OF Sl~VHRArJ IMPERIAL, ROYALl U1llPlPJ[,ICAN on ECCUilRIASTICAL EQUESTRIAN ORDERS i

AND HONOU,ARY PATHON, l'RESIDENT, OR MEMDHU OF VARIOUS LITII:RARY,tlCTF.NTIFIC AND HUMANITARI,\N HOCIR'rIl~S OK

AOADEMIES OF EUROPE, ASIA, AFRlC.\. AND AMI!llUCA ;

" l!I'A WAD" OF iRE PEBtUAN lU1PIRJil.

CALCUTTA: PRINTED BY r. C. BOB" & Co., STA.NHOPB PRESS, 249, Bow-BAZAR

STIIEET, AND PUDLISHEIJ BY THE BENGAL AOADEMY 011' MUSIO, PATHITIIIA.GHATA !lAJBATI.

1884.

[ AI/ rigkts reserved.]

BllI.C. LmRARY

Ace. No. ,:214~ Class No, '

Dat.e

St, Ca,,'

Check,

../

TO

THE MARQUIS OF RIPON, K.G., p.e., O.:l.I.S.I., a.M.I.E., &c., &c., &c.,

THIS BOO K IS,

W,ITH PERMISSION,

MOST RESPECTFULLY DEDICATED

BY

HIS EXCELLENCY'S MOST pBLIGED AND HUMBLE SERVANT,

S. M. TAGORE.

~-

I I !

! !

PREFACE.

_T the request of several European friends who

r take a lively interest in the Music of . this

country and would like to see it improved by the use

of Harmony, I have ventured to publish the follow-

ing pages with the object of acquainting them with

the oharac~ristic features of Hindu Music and of

showing to what extent its spirit would admit of

the application of Harmony thereto. How far have

I been successful in giving a. clear expression to my

views regarding the question, I do not feel competent

to say. But if ,JIo perusal of these pages enables any

Musician to arrive at a definite conclusion on the

subject, I shall deem myself amply rewarded.

CALOUTTA, J Pathuriaghata ~ba.ti,

31st July 1884.

S. M. TAGORE.

CO NTE NTS.

Sampu,fjlJ TM.t SMrava TMe

Oral'1J 7'M.c

SCALBB.

ILLUSTRATIONS. SampUr!!(J TMt-

Ragin! Deogiri R'ga Pa!!chama Ragini Deosiga

" Kalya!!"

" Pa!!chama-Bahara

JJ Jhijhiti

" SohA-Bhairavl

" Mlilligllura ...

" Kaliiigara ...

" Amra-Paychama

" Vallari

" Pila

tJ Sindhu

" Kaum'rik4

" Dhanas'ri ...

JJ Yogi!!'

" :Bagisvad ...

" Gnjjan

" Bhairavl

" Tori

ShdrallfA That-

R£giui Bibb'sa

" Sur-Mallara

...

Page. 1 1

30

62· 63 640 65 66 67 68 69 70 71 72 73 740 75 76 77 78 79 80 81

82 83

~. ~--"r"

ii

-~--~--~.--~

CONTENTS.

I·

Ragi!'i Sohini

" Puriya " N agadh vani. Kanara

Orava Tluit-

Ragin! Vrindavani.Sal·aiiga Hindola

" "

Malas'r\

" Dhnbnlns'l"i .. .

" Malkos'n .. .

Remarks on the applicability of Harmony to Hindu Music

P"fle. 8t 85 86

87 88 89 90 91

93

THE

o

SAMPURNA THAT.·

ASCENDING. (1) DESCENDING.

~ i J J B J i ~ tlfjj Jjj With D Flat.


'~=n J J J LB IJ J J J J 6J 1 I .With E Flat.


~ 1 J ~ J J J J _ J ~ J J J J ~J J 1 I With F Sharp.

ASCENDING. (4) D:IilSCENDING.

~=i J J ;tL~4d #0 J Jl .. Seales oonsisting of Seven N otea.

Irr 2~-~- TilE :MUSICAL SCALES OF THE HINDUS-. ~~ ~ i - -- . I i With A Flat. ! ASCENDING. (5) DESCENDING.

I ~-lJT J ~ h;d=£±52P I

With B Flat.


~~F~=tJ &L:~=a=~~

With D and E Flat.

ASCENDING. (7) DESCENDING. \

~ fd~~ -~ J J J J uJJQzp·1 With D Flat and FSharp.

ASCENDING. (8) DEBC.ENDING.

~--~~~-~-I ~;==¥~ • • ---~41·

With D and A Flat.

I I

'{t'- "~.,:",.-.. ~--3~ 1 With D and B Flat.

ASCENDING. (10) DESCKNDING.

::j =c=;=--=r:E±-~~~~=+==1~bJ 1 I ~-~~~~----.~~ .

With E Flat a.nd F Sharp.

With E and A Flat.


~ c B::d±.ld=UjJQ;;; ~ 1 ~~- ... -II_

With E and B Flat.


~ . £8;EI __ f~4EEh+==1= J Jl ~-~ ---------~ -

With F Sharp and A Flat.


THE MUSICAL SCALES OF THE HINDUS. ~ ..

With F Sharp and B Flat.


~=j¥htJd ~ J 4LFhJ a J iJ With A and B Flat.


~==i=#}-=i4J P ~ 4hJ a J J fP With D and E Flat and F Sharp.


~=i bJN#4 J J -a=~~ With D, E, and A Flat.


j ~ JJ J J hJ i ~ ~'fiJ J .WQJ-iJ

With D, E, and B Fla.t.


~l ivJ~~~ J J J6J5P ~

THE lIU91CAL SCALII9 01' rHB HINDUS. 5

With D Fla.t, F Bharp and A Flat.


~- 1 bJ J ~J J bED J d J #J J brjd With D Flat, F Sharp and B Fla.t.


~ 1 bJ J ~I~ J J ~J J ~ J J La bJ 1 I

With D, A, and B Flat.


~ J J J b;P IJ jJ ~J d J J J bJ Jd With E Flat, F Sharp and A Flat.


~ 1 h J nJ Jt. J Il J J d J ttJ p J J pi With E Flat, F Sharp and B Fla.t.


~ 1 hJ uJ J J ~IJ J ~IJ i11tJ J i3 ~

~ 6 THill IIUSICAL SCALES OJ! 1'HE HINDUS. ~ -----·~I

With E, A, and B Flat.


~ 1 hJ J hhJ J~JbJ J JpJ rfJ With F Sharp, A and B Flat.


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


~ -.~J #J J b; J 1dii Wftj itt1 With D and E Flat, F Sharp and B Flat.


~ IJ ,J ~FJ J m~ ~ J J J #~ la YfI With D, E, A, a.nd B 'Flat.

ASCENDING. (29) DESCBNDING.

W 9Hd3TJ ,J J~Jd J 4J 6JJ1 -,-

TDB MUSICAL BeALBS OF THB HINDUS. 7

With D Flat, 1 Sharp, A and B Flat. ! ASCENDING. (30)' DESCENDING.

! ~=%t-~F1 .. iii 2#4; J #J J &J 1 j With E Flat, F Sharp, A and B Flat.

ASCENDING. (:11) DESCENDING.

~ 1 J ~ J #£J¥.~affiggJ ~J J. pi With D and E Flat, F Sharp, A and B Flat.

ASCENDING. (32) DESCENDING;

~ l-.ffi§t~d~~F;@li~~

SHARAVA THAT.

With D omitted. ASCENnING. (1) DESCENDING.

~ Id 8?CO=F~¥¥#=fI With E omitted.

ASCRNIHNG. (2) DESCENDING.

! ~--1 J~ l:Jdd J ~=¥I I • Scales QOtlsiating of Six N otea.

~

8 THE IlUSICAL SOALlIS OP THB HINDUS.

With F omitted. ASCENDING. (3) DESCENDING.

~q-=p J J J ~ J t4@4¥fI With G omitted.


~ IJJJJIJJJ J J9 EF With A omitted.


With B omitted. ASCENDING. (6) DESCENDING.

~ 1 J J J J J 13 F;==pfi.a With D omitted and with E Flat.

ASCENDING. {7~ DESCENDING.

§q;a Jd J IJ • EF=a=r;gp With D omitted and with F Sharp.


~ 1 Jl~J J J IJ J J J J=wgp,

THE MUSICAL SCALES 0' THE HIND:S-. -~-~9 ~

With D omitted and with A Flat.


;2~-- =+=FJ I ~ ~~~--_3i-==--.~-J==p

With D omitted and with B Flat.


t-=tD ~~CQ:==4LL£¥#¥I With E omitted a.nd with D Flat.

With E omitted and with F Sharp.

ASCENDING. DESCENDING.

J With E omitted and with A Flat.


n

THB JlU8ICAL BCALES or THE HINDUS.

With E omitted and with B Flat.


~=rJ J J J pJ J #=--"frJ J FP With F omitted and with D Flat.

ASOENDING. (15) DESCENDING.

With F omitted and with E FIa.t.


j 1 J p J -P=-=:P i§ J }J Ff"J With F omitted and with A Flat.


~ 1 J J J bEPELIrEJ J Ff"J With F omitted and with B Fiat.


1:.===FJ=J J J ~~ J W J 'J g I ~------== - - : J 1 : ~-~~~.-'"~--,--~--'-~-

With G omitted and with D Flat.


~ I bJ J J J J H J Jid--wi-A With G omitted and with E Flat.

ASOENDING. (20) DESOENDING.

With G omitted and with F Sharp.


~%f§4f-=~~~=#J§~ ij With G omitted and with A Flat.


~ 1 jd=-5i~E~~r==e=~ With G omitted and with B Fla.t.

ASCENDING. (23)

~ 1 J i--iH ~J • 9LJ

DESCENDING.

J J £ttl ~,

lit THB MUSICAL SCALES OP THB mNDU8.

With A omitted and with D Flat.

AsOENDING. (24) DESOENDING.

~ IbJ J J J J J R Ei+iF# With A omitted and with E Flat.


~ 1 J pJ J J II J J J J p 2 J fI With A omitted and with F Sharp.


~ 1 J J l~tJ II J J J #J J TiH With A omitted and with B Flat.


~ 1 J J J J ~ II I ~ J J J EJ"tg8 With B omitted and with D Flat.


i1JJJJJ J£j J J J 13 ~ b b

·i

r" ---------------~~~-~THB MUSICAL SCALES OJ THill HINDUS. IS

With B omitted and with E Flat.


~ 1 J ~J i J J J J J J~J J iF With B omitted and with r Sharp.


With B omitted and with A Fla.t.


~- 1 J J J J f,H=n.~r-=cl J 11 With r omitted and with D and E Flat.

'With G omitted and with D and E Fla.t.


~~l~&J~~J§t1J~~J§J~J ~J ~9J~J~~~ I

~ ~~I

THB JlUSIOAL SOALES Oll THE HINDUS.

With A omitted and with D and E Fla.t.


::U-- ~J~~-~ §1 1 &J IiR----== == ~ With B omitted and with D and E Flat.


J=5. &~J=q;;LW bFP With E omitted and with D Flat and F Sharp.


~ l&JlFJ J J J J ~~ fI With G omitted and with D Flat a.nd F Sharp.

ASCENDING. ..(37) DESCENDING.

J=i J J 1FJ :p=t:t~nJ==,=t b " ==P.

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


THill MUSICAL SCALIIIS 0' THII HINDUS. 15

With B omitted and with D Flat and F Sharp.


~ 1 btU #J J J J. J J 11; J sF¥! With E omitted and with D and A Flat.

ASCENDING. (40) DESOENDING.

With F omitted and with D and A Fla.t.


~ 1 bJ J J b J J • J b; J J bJ 1 I With G omitted and with D and A Flat.


~ 1 bJ k-pJ-=D J b J J J bJ 1 I With B omitted and with D and A Flat.


1 bJ J J J bLliH J J ti¥J

16 THE MUSICAL SCALIS OJ!' TUI HINDUS.,

With E omitted and with D and B Flat.


~ iJ J J J P ,J ~ 9 J J J J 6J ]l

With F omitted and with D and B Flat.


& H J J+~J J J&J]l

With G omitted and with D and B Flat.


~=tWta:=:¥¥L ~ PJ Lt J 6J r1 With A omitted and with.D and B Flat.


~ I bJ J J J ~J .~ ~J j J J bJttf/

With D omitted and with E Flat and F Sharp.


~l ~ J ~~J J J J ~ tJg;J ~J 1 I k-. ~~~-,~

THE MUSICAL SCALES OF THE HINDUS. .

With G omitted and with E Flat and F Sharp.


~ 1 J liJ lFJ J J ~ J~i liJ J 1 I With A omitted and with E Flat and F Sharp.


~ 1 J 11 J nJ jM-==--1J2bg-~=tJ With B omitted and with E Flat and F Sharp.


J=f5~ L~~EW=W With D omitted and with E and A. Flat.


~~ ~----g~ J I1Fj8 With F omitted a.nd with E a.nd A Flat.

ASCENDING. (53) DES(JENDING •.

~ 1 J ~J LI~=O =tiD &M=tJ ~

c

THill lWSICAL SOALES 01' 'l'HE HINDUS.

.~'. ~

With G omitted and with E and A Flat.


~iIEJ#tH'~==9 bF~ With B omitted and with E and A Fla.t.


~ ~£~-~~-~-F~ With D omitted and with E and B Flat.


~---~~J :J::~§ -~ ~~--~=-~===-. - ~~-I .. --:r-: - -P-e-- - r==t===;-

I With F omitted and with E and B Flat.


~~ iii hFiJ_~~ With G omitted and with E and B Flat.

ASCENDING. (58) DESCENDING •

. ~ 1 hE; ; 9J .. 9J=TTU=~

THB IWSIOAL SCALES OF THE HINDUS. 19

With A omitted and with E and B Flat.


"l==== pi"~===1-----~ 1 J 9 J Jd---=~~ J 1"3

With D omitted and with F Sharp and A Flat.


~_~tdgE~~~

With E omitted and with F Sha.rp and A Flat.


~=¥ftf=hJ Jd=±iJ@i~~ With G omitted and with F Sharp and A Flat.

ASCENDING. (62) DESCENDING •

. ~ 1 J J ~~pJ ~ ~-hijJ J Ff1 With B omitted and with F Sharp and A Flat.

ASCENDtNG. (63) DESCENDtNG.

20 '[HE MUSICAL SCALES OF. THE UINDUS.

With D omitted and with F Sharp and B Flat.


~ 1 J ~J J J ~i ~ ~J J J ~#dSP With E omitted a.nd with F Sharp a.nd B Flat.


~ flii 2 Iii ~ IiJ J J lfQ4fl With G omitted and with F Sharp and B Flat.


~ 1 J J ~J h Il J ~ J 9J J J=¥I With A omitted and with F Sharp and B Flat.

ASCENDING. (67)

'i ~ J ~ rH~fUbi ~

DESCENDING.

With D omitted and with A and B Flat .

. ASCENDING. . (68) DESOENDING.

J¢=i J J J bhi ~ @jJ J J J 13

Ii

THB lIU9ICAL SOALBS 01' THE HINDUS.

With E omitted and With A and B Flat.


~~ J J!,J ~J J PJ b1f&Ea J j1 With F omitted and With A and B Flat.


J=B J JiM J ~J~FFI

With G omitted and With A and B Flat.

ASCENDING. ('71) DESCENDING.

1 J J Jt.J~J=k~J trJ J With G omitted and With D, E Flat and F Sharp.


I bh J l~J J J J J §. ~J "J4i4 With A omitted and with D. E Flat and F Sharp.


, 1 "J "J ~~J J J J J J #J "J "J J]

11'1 I I-MJ!.::R ~HNA '" 1J)ltJN IN:,Tn .... f, 01-"· UL TUkE

LlBi,AH;'f"

THE l!IUSICAL SCA.LES OP, THill HIN::------ -'-~

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


With F omitted and with D, E a.ndA Flat.


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


~ i&JIIJ J"J IJ • J §~~ With B omitted and withD, E and A Flat.


With F omitted a.nd withD. E and B Flat.

,ASOENDING. (78) DESCENDING.

flLJ-iJ J J pi ~ P~=i J II; &J 11

••

TllB IIUSICAL BCUBS OJ TBB HINDUS.

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

ASCENDING. (79} DESOENDING.

~ bJ ~t± J ~J ~ IiJ J J, ~J tf13 With A omitted and with D, E and B Flat.


~ I bhJ44 ~ IiJ LJ bJ i=rt With E omitted and with D Flat, F shirp a.nd A Flat.


~ 1 bJ iJ J bJ J J 41L9 tiJ #4;4 With G omitted and with D Flat, F Sharp and A Flat.


\ ~==Affi:m J J J @J J &J 1 I With B omitted and with D Flat, F Sharp and A FIa.t.

I ASCENDING. (83) DESOENDING.

~ 1 bJ J #J J &L1:iJ J #J J tJ2i3

!rHIII lI(UBIDAL' BOALES OP, !rHIII HINDUS.

With E omitted and With D Flat, :r Sharp and B Flat.


~=--i=bJ #J J J 9 J J 9 J J J nJ 6J 1 ,

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


~ gJ J #@ ~ J J 9 J J l~J J &J 1 ,

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


~1 6J J #pH &J At J &J I' With E omitted and with D, A and B Flat.


1 \' ~ lid J d &J 4AJ J J &J Jl

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


! ~q;J '~

J J &;,J ~~ J &J 1 , ~'

THE MUSICAL SCALES or THE HINDUS. 25

With G omitted and with D, A and B Fla.t.


~- ¥)jD:±E:inJ9~~ ~ 1 &J J ----===- - =~-::::::p

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


J=ii8iB-b:t-=J-~-LQ;4=~~

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


i= --~~ h"d==l=1-~ ~ J ~ne:::---~~=~-

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


~ I J~£W=JiL2~@~=t=-¥1 With D omitted and with E Flat, F Sharp a.nd B Flat.


~, lpJ ;pJ ; I1J ~-~~-fJ

~ D

1~26 ----~--~----------------------

THE MUSICAL BOALES OF T-HK HINDUS.

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


j5j; J IJJ i~J J pi ~ !59J ~J J"=P With A omitted and with E Flat, F Sharp and B FIat.


j 1 J pJ #J J rl=£j§ ~~:-d J dj With D omitted and with E, A and B Flat.


~==i#klJZli@~~b"J-J J ~#¥I

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

ASCENDING. Ql7) DESCENDING.

~ I=JiJ J h J ~ il • rl=ijEhFF¥I With G omitted and with E. A and B Flat.


: ~ 1 J la ;iJ Iii ~ 1i£ifT~J J I I l' 1Jt. _~

THE MUSICAL SCALES OF THE HINDUS. ~7Fj$ (, ~ ~

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


~ 1 j nJ hhlJ ~ ~J li_@t;i £243 With E omitted and with F Sharp, A and B Flat.


~ 1 J nJ ru ~J~~iFti;~J J 1 I With G omitted and with F Sharp, A and B Flat.


~q-t4f.l¥A ~J=ms;r#J-R==;1 With G omitted and with D, E Flat, F Sharp and

A Fla.t.


~ 1 bhJ 1*J oJ J ~ i bQ pJ bf4J With B omitted and with D, E Flat, F Sharp and

. A Fla.t.


~ 1 &hJ #J j.,J=-+u J #J ~J &EP .~

88 . THE IIUSICAL SCALl!IS 0' THE HINDUS.

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


~ 1 bh J ~~J J &J J p J J ~~tiJ bJ 1 I With A omitted and with D, E Flat, F Sharp and

B Flat.

ASCENDING. (l05) DESCENDING.

~ 1 &J ~J ~J J ~J J liJ J 1fJ "J "J 11 With F omitted and with D, H, A and B Flat.


~ 1 bJ bJ J "Jib J ~ J IiJ J la Jft' With G omitted and with D, E, A and B Flat.

ASCENDING. (107) DESOENDING • .. ~. 1 bJ ~J J i,#OJ ~H ~Etft3

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


~ 1 J ~tJ J.,J Iii J bJ bJ J ~~J J2i1 b .b .

THE KtJSlOAL SCALES or THE HINDUS. 29

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


~ J #~ b J ~ i ~ ~ i IzJ #~d bJ 1 1

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


f 1,Jn; JIzJpi ~ ~i "J 4J 9J 11

With G omitted and with E FI8.t, F Sh~, . A and B Flat. .


~ 1 J 9J #J bJ pi J ji hbii"Ra J 11 With G omitted and with D. E Flat, F Sharp,

A and B Flat.


~ 1 bhJ #~ &J,J J ~J d I~J~ bfi1

,,0 1HB MUSIOAL BOALES or ~HID IDNDUB.

ORABA THAT.-

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

~==p ELJ ~ J EjJ With D and F omitted.


~ J J J J

With D and G omitted. ASCENDING. (3) DESOENDING.

f 1 J J J J J J J J92f/:i With D and A omitted.


~. "" J J J J J J 0 J fJ 1

With D and Bomitted. ASCENDING. (5) DESOENDING.

!J?] J J J J J;;F-LJ J 1 1 ::

.. Soales coDsisting of five Notes.

~

~

THE MUSICAL SCALES 01' THE HINDUS. 81

With E and :r omitted.

ASCENDING. DESCENDING. (6)

J • J J ~ With E a.nd G omitted.


1 p*;J J ~ J J J {11 With E and A omitted.


1 J J J J • J J LJ 1 I

With E a.nd B omitted.

ASOENDING. (9) DESCENDIN(;.

:~ 1 J=; J i • d J J J 1 I With F a.nd G omitted.

ASCENDING • (10) DESCENDlNG.

. ~ 1 J J J i • i J J J it )

__ f_H_B _lI[US_I_OA_L _SO_A.L_BS_O_F' _fH_B _HIND_UB_. ---~t With F and A .omitted.

AsCENDING. (11) DESCENDING.

~ I J J J J ~ J J J J II With rand B omitted.

ASOIINDING. (12) DESCENDING.

~l J J J J J J J J J 11 With G and A omitted.


~ I J J J J ~ J J J J II With G and B omitted.

ASOENDING. (14) DESOENDING. to

~ 1 J J J J J J J J J 11 With A a.nd B omitted.

AsOBNDING. (15) DESCENDING.

~ IJ J J J~ .#:.

I"

THE MUSICAL SCALES OJ!' THE' HINDUS.

Wit~ D and E omitted and with F Sharp.


~. 1 ~~J J H J J~¥-~=FI With D and E omitted and with A Flat.


~~~-~ip With D and E omitted and with B Flat~

ASCENDING. (IS) DESCENDING.

E D!/J Li;J=Et=ig~ ~ --

With l) a.nd F omitted and with E Flat.


With D and F omitted and with· A Flat.


~-l w----=L! J=id J II t==j f=ihl ~~============================~I

II

THE lIIUSICAL SCALES OF THE HINDUS.

With D and F omitted and with B Flat.


~~ iL~ bFL]:d:=~ With D and G omitted and with E Flat.

ASCENDING. (22) DESCENDING. i I

~ iffi rB=E~ J 91~ With D and G omitted and with F Sharp.


~-l fiB H=-U_,J £¥1 With D and G omitted and with A Flat.

'I:'


With D and G omitted a.nd with B Fla.t.


THE MUSICAL SCALES OF THE HINDUS. 56

With D and A omitted and with E Fla.t.

ASCENDING.

With D and A omitted a.nd with F Sha.rp.


~~ J iE~ -~ ~ ~ jd With D and A omitted and with B Fla.t.


~~~-~-¥-~~~~ With D and B omitted and with E Flat.

ASOENDING. DESOENDIN(},

With D and B omitted and with F Sharp.

ASCENDING. (30) DESCENDIN(}.

J==ik£iJ EEJ h~~ J II

THE M:USICALSCALES OF THE HINDUS.

With D and B omitted and with A Flat.


~ ~:::::E~=:t:J:==-+==1==1~ _ ==r---.I2:II_=h::I:==i==.-.==p

With E and F omitted and with D Flat.


~--=B~~i3§~ With E and F omitted and with A Flat.


~ OJ :j-.---t====r-:-:=r==1--3 ~~~=i=b:.==i=-=+--bT~ H3

With E and F omitted and with B Flat.

ASCENDING. (3*) DESCENDING.

;i=.-til-"E~-I-iiE-I==1=-~ ~----=i-J .~-~- .

With E and G omitted and with D Flat.


~ bP=8~=r-=EJ J= dEl ~ -~.

.~_TB_B_lII_US_ICAL __ SC_A.LlI_B_O_'1_T_BB_H_IN_D_UB_. ____ 871 With E a.nd G omitted and with F Sharp.

ASCENDING. (36)

J ~

DESCENDING.

J

With E a.nd G omitted and with A Flat.

ASCENDING. (3'7) DESCENDING.

~ r=r ___ t-=~-=E §iq J 1 I With D and G omitted and with B Flat.

.ASCENDING. (38) DESCENDING.

With E a.nd A omitted a.nd with D Flat.


With E and A omitted and with F Sharp.

. ASCENDING. (40) DESCENDING •

·~38 THE MUSICAL SCALES OF THE HINDUS.

With E and A omitted and with B Flat.


~ 1 kkf? ~~~~ With E and B omitted a.nd with D Fla.t.


~ ~-2~Jq~ With E and B omitted and with F Sharp.


~==i-~-~ J~::=h:4t J~ With E a.nd B omitted and with A Flat.


With F and G omitted and with D Flat.

ASCENDING.

,~ hi J

k..--

(45)

J J

DESCENDING.

THE MUSICAL SCALES OJ!' THE HINDUS.

With F and G omitted and with E Fla.t.


il ¥=iff=3 ~ -S:3~ §§ ~ ~ - ~oj~==p

With F and G omitted and with A Flat.

With F and G omitted and with B Flat.


~ ~~~~3 J J fl With F and A omitted and with D Fla.t.


~rJ r=r~ ¥=+-V~ With F and A omitted and with E Flat.


~==t=i~

With F and A omitted and with B Flat.


~ l=~ d ~IJ J 1Ebt J 1J With F and B omitted and with D Flat . . ASCENDING. (52) DESCENDING.

~J bJ E=B~~~ gJ ¥I With F and B omitted and with E Flat.


With F and B omitted and with A Flat.

ASCENDING. (54) II- DESCENDING.

With G and A omitted and with D Flat.


J .~

THB MUSICAL SCALES Ol' THlIl HINDUS. 41

With G and A omitted and with E Fla.t ..

ASCENDING. ~56) DESCENDING.

~=R=~J J J ~ ~~ u=-=@=tJ With G and A omitted and with F Sharp.


With G and A omitted and with B Flat.


~ 1 J J J=W ~ ~J J J #fJ With G and B omitted a.nd with D Flat.


I J J

With G and B omitted and with·E Fla.t.


~'~l~J~Jd§~~J~·~J~J~J~~J~J~l~1 ~ ...,.

J!'

With G and 11 omitted and with F Sharp.


iJ With G and B omitted and with A Flat.

ASCENDIN&. (62) DESCENDING.

~. I J J P~;;!J ; J J ~d With A and B omitted and with D Flat.


With A and B omitted and with E Flat.

ASCENDING. (64)__ DESCENDING.

~q=tifJ J ~ - J ; 9J J Jf1 With A. and B omitted and with F Sharp.


I ~ l J J #J 4d J #J J oJll ,~

THB MUSICAL SCAUS OJ' THill HINDUS. 43

With D and E omitted ud with F Sharp and A rlat.


~~ bJ B fiU==#~ With D and E omitted a.nd with F Sharp a.nd B Flat.

ASCENDING. (67) DIiSCIIINDING.

~ ~ J+hfi3 With D a.nd E omitted a.nd with A and B Fla.t.


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


~=ti"j J hi ~=EJ3] ~

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

ASCENDING. (70) DESOE)TDING.

J ~J 1tW Jdjj =EI ..

TIIB MUSICAL SCALBS OF THE HINDUS.

With D and F omitted and with A and B Fla.t.


0~ ~~?=#=];FJTTI

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

ASCENDING •. (72)

J J DESCENDING.

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

ASCENDING. .(73) DESCENDING.

~ 1 9J J b J ) EJ d 5a l' With D and G omitted and with E a.nd B Flat. ..


~@-J J~J~~

With D and G omitted and with F Sharp and A Fla.t.


~ .~ J J rJ t=LljJ #J Ff1 ~ . ~~ L

,..~-- • TBII Jl118ICAL SOALES 01' THB ~US. 46 ~

With D and G omitted and with r Sharp a.nd B Flat.


~ . ¥"AM ~ J . EiJ J. jtlbJEfd With D and G omitted and with A and B F~t.


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

ASCENDING. (78) DESCENDINQ.

~ n Ii a J ~ J a ~~IJ ~ jEfd With D and A omitted and with E and B Flat.


~==i=W J J ~J J ~J J J ,asp With D and A omitted and with r Sharp and B Flat.

AaCENDING. (SO) DESCENDING.

. J J 1 .J #i AJ· ~ a,i JEfd

-~

THE MUSICAL BCALE8 OP THE HINDUS.

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


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


& 1;J J4f-i@;&i ~ With D and B omitted and with F Sharp and A Flat.

ASCENDING. (S3) DESCENDING.

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

ASOENDING. . (84) '" DESCENDING.

~~l ~6J ~fi~J~J~~~~~IzJ~J~:~~$ With E and r omitted and with D and B FIat.


~ 1=63 J J I1J. L~J J. &#¥I if-.

TlJE MUSICAL SCALES 01' TlJE lJINDUS. 47

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


~==FF~L&=J i=~ With E and G omitted and with D Flat and F Sharp.


~:;:~~ .;FJ F~=E~bF¥1

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

ASCENDING. (88) D.ESCENDING.

~=i b~d~~~ i~ With E and G omitted and with D and B Flat.


1: - +=+=W=B~-~ I :~.!¥ 1 bJ-~ =t-$=p

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

ASC;ENDING. (90) DESCENDING.

~_FRi®E8=~-FP

~ 4t

~48 THill 1lU8ICAL SCALES OF THill mlllllU9.

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


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

. ASCENDING. (92) DESCENDING.

~ 1 J J &]4~~=W='!L4;-r-fl With E and A omitted and with D Flat and F Sharp.

ASCENDING. (93) . DESCENDING.

~ 1 oJ uP i J ~ J l~J bJ 1 I With B and A omitted and with D and B Flat.


~ 1 bJ FJ ~J ~ ~J J J bJ fI With B and A omitted and with F Sharp and B Fla.t.


Itj J UJ= i~! ~ ~J J #J J 11

I~ THE lIIUSICAL SCALES OF THE HINDUS. -;~

I ;~h E and Bomitted and with D ;lat and F Sharp. I I ASCENDING. (96) DESCENDING.

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


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


~~==tt~-~==±=~-¥¥1 With F and G omitted and with D and E Flat.


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

G

50 THB MUSICAL SCALES OF THE HINDUS.

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


J ~L±iE;

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


~ 1 ~iE*---=:E:E~J ~J J lfI With F and G omitted and with E and B Flat.

ASCENDING. (lOa) DESCENDING.

With F and G omitted a~d with A and B Flat.

ASCENDING. . (104) DESOENDING.

~ 1 J J -3TJ ~ J ~ ~ J "Lj J lfI . With F and A omitted and with D and.E Flat.

ASCENDING.

~ 1 bJ '9J J

~

(105)

J:::iI DESCENDING.

J f 9J J l' b

~

THE HUSIOAL SCALIIB OF THE lIINDUS. 51

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


~ bJ J J !lJ ~ !lCFt bJ f1

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


~----~--i--j Ei -""-1==1 !liI~ -J

With F and B omitted and with D and E Pla.t.

ASOENDING. (108) DESOENDING.·

'l---~ i ~:=;-~~:;::J !¥4- J 9:=:+= -- ~

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


~=q &Jd bEb3TJ J~~ With F and B omitted and with E and A Flat.


J "J • "~~J J II

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

ASCENDING. (111) DESC,ENDING.

@~l ~bJ ~#~=r-=~~.~~~~J~f~. ~ With G and A omitted and with D Flat and F Sharp.

ASCENDING. DESCENIlING.

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


~9 &J J J~) ~ bJ-±j~r==f1 With G and A omitted and with E Flat and F Sharp.


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


,=jJ ~ J J ~ J ~ $t;J J 11 I~~~~~~~--~~

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


1.--==e= #E~===r-- 71 ~ i F=i=#- iIi~-= ==~==p

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

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

ASCENDING. (118) DESCENDING. I ~:=~~_=~~~~~#~E~=;;~r=;====1 ~~_~

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


~-~=gp~~ ~~~ With G and B omitted and with E Flat and F Sharp.


~-iihRR@sr-;~=id ~~ ~

1~54 --------------------------------

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


~ R=--tt=E~3_~3 ~Ft==P With G and B omitted and with F Sharp and A Flat.


With A and B omitted a.nd with D and E Fla.t.


With A and B omitted and with D Flat and F Sharp . .. ASCENDING. (124) DESCENDING.

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


~ - -==t::~- ~ i

~l¥d~.J

THE MUSIOAL BOALES OJ' THE HINDUS.

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


~ t=~~LL1JL~=:=£-:#-iJ With D and F omitted and with E, A and B Flat.


~~H---$§~-~ •

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

ASOENDING. (] 28) DESCENDING.

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


~. 1 ~J thJ PJ J ~8~ With D and G omitted and with E. A and B Flat.

ASCENDlNG. . (130) DESCENDING.

~=q J33fiE4ljE~&1

r 56 TnB ]l(US~O~L SOALDS Oil' THE HINDUS. . ~ .

!~ith D and G omitted and with F Sharp,A and. B Flat.

ASCENI>ING. (131) DESOENDING.

~~ RtJ¥#s=e~p With D and A omitted and with E Flat,

F Sharp and B Flat. ASCENDING. (132) DESCENDING.

~~~, J. ~M 9J J #J ~J ¥I With D and B omitted and with E Flat, F Sharp

and A Flat. ASCENDING. DESCENDING. (133)

~=---t'~ " .~ iJ II I With E a.nd F omitted and with D, A and B Flat . ..


~ Z~i fiDJ ~ ti4Jd bJ=Jd With E and G omitted and with D Flat, F Sharp

and A Flat. ASCENDING. (135) DESOENDING.

J ~4 J I II #J ,J ·1

!

~. THE lIUSICA=::OF l'HE HIND~-;~

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


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


~ ~~~~=~ With E and G omitted and with F Sharp,

A and B Flat. ASCENDING. (138) DESCENDING.

~ i J 1I~ ~~?-=w=~~ P With E and A omitted and with D Flat, F Sharp

and B Flat. . ASCENDING. (139) DESCENDING.

~~~~8==jjL--u:rj ~~ With E and B omitted and with D Flat, F Sharp

and A Flat. ASCENDING.

~ ~o.

(140) DESCENDING.

H

~58 THE MUSICAL SCALES 01' THE HINDUS.

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


~ 1 bJ ~J "E2 J J I,J ~J b£P With F and G omitted and with D, E and B Flat.


With F and G omitted and with D, A and B Fla.t.


~ 1 bJ J"~ ~ bJ d. Jq+j3 With F and G omitted and-with:l, A and B Flat.


f 1 J-:;J hJ::dJ J 9 J b#===£h+j3 With F and A omitted and with D, E and B Flat.


J ~L:iJ ~J J ~J b J 11

THE MUSICAL SCALES OF THE HINDUS. 59~

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


~~ffid4J §~ With G and A omitted and with D, E Flat .

and FSharp. ASCENDING. (147) DESCENDING.

~=J&~~ E~~ With G and A omitted and with D, E and B Flat.


:i--,~) ~j===1 ~~~W=l d=T==i=I !¥-~ w---===-.= ----u-I==p

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


~ ·~-HT~-~~~1 £d With G and A omitted and with E Flat, F Sharp

and B Flat.


~ 1 J uJ £$f---W 1~J ~"J ~

1~60 TIrE ~IUSICAL SCALES OF l'HE HINDUS,

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

and F Sharp. ASCENDING. (151) DESCENDING.

~~Fi-~~~~~ With G and B omitted and with D, E a.nd A Flat.


;i==: =I====1~=I ~= -~ ~~l ~ ~.=~=:p

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


:i~-__ ~~- _=I ±3ZJ=:=iI~ =I-::r-=;~~~ [41--_-_ -~=#. - "=;--===--__ --EJ b

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

ASCENDING. (154,. DESCENDING.

~--pffi--lt~ l~~~-f¥P With A and B omitted and with D, E Flat

and F Sharp. ASCENDING. (155) DESCENDING.

~~~.J

THE MUSICAL SCALES OF THE HINDUS.

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


~~~~J EWI'~ With E and G omitted and with D Flat, F Sharp,

A and B Flat .. ASCENDING. (157) DESCENDING.

~~=-~~~~i=i@ With F and G omitted and with D, E, A and B Flat.


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


'i- - =r==.l ~EiJ I ~-' :;=I ~==FT~-~----=#T.=~~ FP With G and B omitted and with D, E Flat, F Sharp

and A Flat. ASCENDING. (160) DESCENDmG.

~- i_~j§J_jtt±J_L&"·4J-~=p I ~ ~

62 .THE MUSICAL SCALES OF THE HINDUS.

SUMFUR~A .THAT.

(1)*

RAGIN! DEOGIRi .

• FIRST STRAIN.

~ ~1 t Q9 ~1flnilJll ~ ~ - . .-""

i----s7J--=+!J=Fff-+:- -~ ~ 1?f-~-a~~ -. ~nlllr=~ F~

........... ------

SECOND STRAIN.

* The numerals given here refer to those of the scaJes shown under the beading .. 8umpurrJ~ 'l'hIU' in tbe preceding pages.

~~~~~~~~~

TBB MUSIOAL SCAtBS OJ THB HlNDUS. 68

(9)

RAGA PANCHA.MA.

With D Flat.

FIRST STRAIN.

~ on 1 tn ffl J' filT9 ry

~ rft f±F~ c -=¥4 ~ l fj FJ m3 J 1 iJIt ..... -----.J

SECOND STRAIN.

1 - 11%-

THE .IIUSIOAL SCALES 01' THB HINDUS.

(8)

RAGIID DEOSAGA.

With E Flat.

FiRST STRAIN.

~ ru&D J1 J JJt¥¥J'tJ4= ~ QJ ffl g-=-m:a:J" ~ n " """'---""".........-'

fJ7lTI (J3 pgl=-;q-44Ifl-

SECOND STRAIN.

~ J JJE:]3-t:fg, br : ~ br E "........ --~=JJj9JU J 1 P n E £F

~ 1 HI?? m &J !Ft==*

I.

~================~~

TRB llUSIDAL BDALBS. 0" "'HII HINDUS.

(4 )

HAGJ.Ni KALyA.NA.

With F Sharp.

FIRST Sl'BAIN.

~~ I FS1J J: 1 il111 1= i

~ 1 ~ cJ m ~_tfftT' , ,

~ fif Fa J' Y=J ::::±If . ; , SECOND STRAIN.

...-.. ~.~J~·RlW4~_ 4~' ~D~· ~r ~=~E:~E

J76 gr=-e --l J J1 m GJ 'FS 1 ;=;JtJ ill .

. 1

THJI ImSICAL SCALES 01' THE HINDUS.

(0 )

RAGIN.l' PANCHAMA.BAHARA.

With A. Flat.

FiRST STRAIN.

SECOND STRAIN.

E=~=~=u=l_g~ ~- -..... --~==bh#g¥!? ffl E~i=I

( 6 )

RAGIB.I JHIJHITI.

With B Flat.

Fms'r STRAIN.

SECOND STRAIN.

I I'

68 TKB MUSICAL SOALES OF THE HINDU-;'-'~-~

(T)

UAGI.NI SOHA.BHAIRAVi. ,

With]) and E Flat.

FIRST STRAIN.

i 11i B ~1 P=~B; ~ '-" ~ -~ ~~=iij ~-~tJ?f __ "--"' b"-,, ~

SECOND STRAIN.

" ~=.J\ B=-$$in @J J ~~ bPi

!~:'::=::::::::::::::-:::::::--=-======-=--=-=-...:::::' :::::::::::::::::::::::::::::::::::::::::::::::::!::it'l

THB MUSICAL ~ALES . OF THl! ~~--; ~-tifI

(8 )

RAGINi MALIGAURA.

With D Flat and F Skh1-p.

FIRST STRAIN.

~~~~~

~ fib! fihpfll fiif' ------

~4bf3=# i fEPl@l:

SECOND STRAIN.

~f W_J A1JC~m I J_J

.~ ..... &1 1 q ~~§Ql l-@jg'1-=n~

~;;--~~':USICU S:ALES O-::E HINDUS. ---p JT ~-~~-'-~'- I:

RAGIl~t KALINGATIA.

With]) and A Flat.

FIRST STRAIN.

SECOND STRAIN.

~~\ ::[@;§;!rl~mg

~=~~~ !:32 --- ------

~ ~!!iiSF¥=~ ~ bJ ~ '------- .

if. ~ --

THB MUSIOAL BCAtES 01/ TBB HINDUS. 71

( JO)

RAGI.NI AMRA-PAN CHAMA.

With D and B Flat.

o FIRST STRAIN •

. ~ t;jlwH~-A --J=·¥Et~JqA:- ijI~ --- '--"

SECOND STRAIN.

~+iJ;n 1 iF#=r.##l!#iYli

~~-£j ~~=E~

~d3 ! &J 1 ~==n .............. ...-"'-

~72 I~-~~~

(11 )

RAGIN! VALLARi.

With E Flat and F Sharp.

FIRST STRAIN.

&~~~ij~~J~,,~IJ ~ffi~j~~~J ~;~~~1i~1~1 --~

SECOND STRA.IN.

~ !e.l J'J- a ~ "etu: ~1 e_=-- - r c¢ Q;t =--

~ -:~::-i(fJ@Jn §J].-.W~ .

~ n m p@ n l§ J I ug

r------=.-::' -___ '13

I RAGUd PILU.

1 With E Gnll 4. Plat.

FIRST STRAIN.

~==m: l=L~Jj G t if

~.

SECOND STRAIN.

~--.~ 1 19 B i!J l1 f+ij$on 1 Jtg

74 TBII J1I1SIOAL SOAUS 01' 1'BlI mNJlUS_

(13 )

RAGIID SINDHU.

With Eand B Flat.

FIRST STRAIN_

--- .

J 1~@-t ~ ~ SECOND S'rRAIN_

~@ ! l:!!..~ a ~~=d§?l£

J=gta3~\ ~ :~~-44:

J2i(J4B tJ!.E 1 -F II

.~~--.------~ --.

.ift;'" 1" THill lIUSICAL SCAr,IIIS OF THB HINDUS.

Ii , t \

(14 )

RAG IN.! KAUMARIKA.

With F Sharp and A Flat.

FIRST STRAIN.

SECOND STRAIN.

~--i±+~r r FT#.§8Fffi~ E

~-~~rt~~ oj - .:;/

~ ¥is &@427T]ffl Bill

( 20)

RAGIID DHANASRI.

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

F~RST &J'RAlN.

~===1,.:m Pi 1 83 .1\ 1 Wit '-'" .

~E? 1 titRh¥d ~~w: ~ l~ aJ'j~ =l ~~ ~ ...... --- --=

SECOND STRAIN.

-~ FJ ~ If=iu t4J¥-l=m=

~ ;q3 £G J' m;g;i?ff55 Iz#¥ ~==fiJ-~¥9r;s J ,n=1E

........... -=---' I'

I

1~:="=-=-===TB=.=1I1J=91=D.l=L =9D.l=iu==O'=T=R.=m=ND~~-==~-T~-· iif-' jl--------~-- .-----l! ( 22 ) ; 1

i ! RAGI.NI YOGurA. I! II I i

7I'itk D, .JI. andB Flat.

FIRST STRAIN.

~ G fiW4!:{ffi A r .& ~~n iW=I*1 ~ - .-

SECOND S1'RAIN.

~L: @a p@ gg d7 r

~==t@fj m te5t@ ! ~ :

~ tJt1 ~ .1 r;J J\~ 1 ::ng - -I

.~

ft 1~~--=---THe J{~:~~L BOA~;; THE HINDUS. .--~ !~··~---I

(25 )

RAGIID BAGISVARI.

I, With E, A and B Flat.

l, ~,~~Fm~ST ST~RAIN.~~ 1 1 Lfi=.=ILJ' ~ J ~ fj J" ~ J Ii &P .. ........ --! ~~tL~ffiS9a::;E~~~~~~6+fiifi~· ~gg~.

............ .-' '-"

~-==-4¥4I¥?~§ 5=t= ! ~9-' Ii f~ Ii l1lQ # 1 fi=

.... ---....... --I ~FjJ'IJ~ pug i SECOND _!:VRAIN. "

I ~f-B!!..t Ul1£YJW ~. ;:e I ,

I 1&££8 rn mill W·liffibfj Fa ~ -- -- ........

is! J\JpJ11~J om liMp! 1 II ~== '"- =-" ~ j

~ THE MUSICAL SCALES OF THE HINDUS. - 79' iIf 1-' --.--.--~--~--;:;~-.. ~.-- ... -.... -~-... --.-- I \ RAGIN! GUJJARI. 1

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

<

FIRST Sl'RAIN.

i¥l ~J IIHY4P~ .......:!:...- -- ~

!P3£M~ SECOND STRAIN.

1 ~a1t11t=e=~=§-F~¥@ !o/. ~

~t!~J 19 ¥II

rBI, JlUBIOAL BOAL. or TRI alDOl. : ;'Jt

(29 )

RAGlNi BHAIRAVi.

With. D, E, .4 and B F14t.

FIRST STRAIN.

~=H~J.mV l·J,l;J(J,~~ ~=uPWj~J Fj'fJJ£tOJJ'4I -

SaCON» STRAIN.

~ mgy.g u i IMer C!r lJti

~ ~PAt1Fili-@t-pt& n ~J J'

~ Pfrt ~1 J37J J~t F ' IE _ 6_

1

( 32 )

RAGU!I TOnI.

Witl, ]) and E Flat, F Sharp, .4. and B Flat.

FIRST STRAIN.

~ ~Wi~~~4?nWw"p1T' -- -F",~ 1- G1 i~~ 1$ -» ~ ,

, I ____ - ~

~p·3mu-=#~l:m4J-bifllt ~ --

SECOND STRAIN.

~ ~~~1~ _ =hl~3JE-±±-~ '--'-----~==Ptt rE¥ttt~-fiE

l~~~-.~ K

(3)

SH.A.~A V A THAT.

RAGIBI BIBHASA.

With F omitted.

FIRST STRAIN.

SECOND STRAIN.

~=r-B¥knP Mitt ~

~~Wt=n 1 ;=y=-. ~ . --

~======================~

THB MUSICAL SCALB! or THB HINDUS.

(14 )

RAGIN! SUR.MALLARA.

With E omitted and with B Flat.

FIRST STRAIN.

l it

SECOND STRAIN.

83~

1-

THE MUSICAL BOALES OF THE HINDUS.

( 111 )

RJ\.GJ.NI SOHINI.

Willt G omitted and with D Flat.

FiRST STRAIN.

SECOND STRAIN.

THE MUSICAL SCALES OP THE HINDUS. 81i

( 37)

RAGIRI PURIYA.

With G omitted and with D Flat and F Sliarp.

FIRST S1'RAIN.

~- fj Effi fl pJEi~ ........... -'

SECOND STRAIN.

~:d#£~~fn 2 9~ ~ :~:}~lgiJiE J.' W%~~

J-;§ &i~ fj7 1 -0

THB MUSICAL BCALES 0' TUB HINDUS.

(59 )

nAGINi NAGADHVANI.KANARA..

With A. omitted a'l'l.d with ~g and B Flat.

FmST STRAIN.

SECOND STRAIN.

~---.l§2~l§~~ni]~M ;~r;~:::=Z~;~==t¥-~~ i8n~~ ..

~ n f J' ~J ~ f J 1 wi

-- -

~---- -~ . ~~~~,---'"""~-~~,~-." ............... ..........,..,~,,-~~-- '

THE MUSICAL SCALES OF THE HINDUS. 87 .

(8)

ORAVA THAT.

RAGIRI VRINDAVANI-SARANGA.

With E and ..t1 omitted.

FIRST STRAIN.

~t 11fT:t ft~ ..........

~~~_~nEr----~~i§· EO/~ri£S* B=t-: .......... -

~-_~-_~c~ ffi~~- ~ SECOND STRAIN.

~~~~~

~_~rlJn I

--~

~ . . . 88

(23 )

RAGJ.lii HINDOLA.

With]) and G omitted and with P Sharp.

FIRST STRAIN. r= -----ID-~--g=ij 1ffn! -

t==n==r~djTL-B=

~~~~---§ I iJIE ~.::::; ----- ~

SECOND !i:rRAIN.

~=n~=j=#ft=~=iP-t=g:-1-= ~ # :# -------

~::3i JJg~~m£ fj n=

~_-_-:~-___ T_II~_M:_US_IC_A_L_S_CA_L_ES_OI!_TH_E_:_I_ND_U_S_. ___ -_8_,' 1 (27 )

With]) and A omitted and with P Sha1'P.

FIRST STRAIN.

~~~~~~-i ~Fi J=t=~~- Mk~~

SECOND STRAIN.

L

90 THB JroSICAL BcALI!IS 01' THill HINDUS.

(88 )

RAGJ.Ni DHABALASRi.

With E and G omitted and with D and 4. Flat.

FiRST S1'RAIN.

............ --

~ti~ '---- ----PfJ~ ~,I

SECOND STRAIN. ! ~ -- - I ~tr~t.:ff=m t1IV~~ ~~

~~~~ . ~~~;;--n==-

----- -

THB !oIUSICAL SCALES 0' THB HINDUS.

(ISO)

RAGINi MALKOSA.

91

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

FIRST STRAIN.

~i" fJdd #~ bLl 1 w= ....... --

~#@#b-i%hT=-1h4E ~ ~g 1 &J

I ! ~~~&~ :11=-= !

SECOND STRAIN.

'ft 0 THE MUSICAL SCALIS OF THI IIINDUS. 9siif

IN the preceding pages have been given the. Scales which are mostly in nse in Hindu Music, and II few specimens of the Ragas which are composed on the basis of snch Scales. In order to ascertain whether and to what extcnt Harmonv is applicable to lwgas, it would be necessary to enqnire into tbe principles nnderlying them, and with this view a brief account of the Hiudn System of Music is given below.

According to both ancient and modern anthorities, the number of the principal musical Notes is seven, and these seven Notes go respeotively by the names or ShaTja, RiBluWha, GandMra, Madllyama, Panohama, lJ1laivata and .Ni8"tlda, or lIS they are popularly known by their symbolic names, sa, ri,

ga, rna, pa, dl,a aud ni, corresponding very closely to C, D, E, F, 0, A, and B of the European System of music. These seven Notes constitute a S'aptaka. European Musicians add to these the first note of the next Saptaka and designate tho series ·as lin octave. They are found to use seven, eight, or more octaves on the Piano and some other instruments. But the classical authorities ou Hindn Music used only three S' aptaka8 in their vocal or instrumental music, these being styled, Mandra (or Udal'a), Moohya (or Mlldara), and Tara, (or jar!l). Modern musicians, however, sometimes make use of four

S'aptukas.

The S'rutis are subdivisions of sound intervening the notes. They are twenty-two in number and arc thus arranged :-Four in SIUlrja, three in lU.1Ulblia, two ill Gandl.lira, four in Aladllyama, four in Pancllllma, three in Dllaivata, and two in NiBII/Lda. In the arrangement of the S'rutis, modern usage is diametrically opposite to the classical one; the latter placing them before the Notes to which they respectively belong, while the former fix their position after the Notes. Supposing II

940 THE MUSICAL BCALES OP THB HINDUS.

• cypber to represent a Sru!i, the classical arrangement would be like thus:-0000 000 000000000000000

sa ri ga rna pa dlla ni.

The modem arrangement* is liS follo\ys:-000000000 0000 0000 00000

,a f'i ga rna pa dha ni.

lt is difficult to determine when or by whom the alteration in the arrangement WRS effected. The arrangement of the frets on the Vi1).ti Rnd other stringed instruments aacords with the modern acceptation of the prinoiple. * It will be seen from a look at these instruments, that. in them Gand/u'l·a and NiBlufda. each of which has two S'I'UtiR, and is called in European music a semi-tone, have, between themselves and the succeeding notes, half the space that is allotted to those having four S .. l4ti8; and following the same method, RiB/,aMa and Dl,aiuata, have, with reference to the next succeeding Notes, each a fourth less than that of Sl,arja, Madl,yama, and' Panclwma (each of which has four SrutiB). According to a rule laid down in the classical treatises, the disposition of the notes is reversed in the case or Daravi (litemlly. wooden, i. e., stringed) instruments, and out of this reversed arrangement, perhaps, the modern theory abO'llt the arrangement of the position of the S'rutiB has been evolved.

According to the theory of the ancients, Sllarja, Ganrllial'a and 1l1adllyarna each constituted a Grama.t In support of tbis, it is asserted that Bharja! i. the principal G..ama, inasmuch as it is the principal note from which proceeds the reoog·

• Capt. Willard. Sir W. Jon... and other eminent wrilen, who hod carefully otudied the principles of Indian Musio and we", praotica.llr acquaintod with it, adopted tho modem disposition of the S,uti ..

t Gr4 ..... i. Indian :Music, m..... a •• ri.. of Dotea arranged accordin!! to certain rules. .

.;. Etymologica.llr .peaking, Slv.II~1I. i.I that from which ella! ( i .... the aiA: 110"') .me. .

THE lI!USICAL SCALES OF THE HINDUS. 95

nition of the six other notes. The Madlt!Jama is declared a G,'ama, because the use of this noto is never avoided in the Sluirava* and Orava* Scales. G~ndll(lra is deemed eligible to be taken as a Grama, because it springs from the celestial beings amI i. consequently a great favorite of theirs. The use of the Grindllura Grrima is confined only to the celestial regions. Some writers, again, recognise Pallcl!ama :IS II Gruma in licu of Gandluira. Musicians of the modern day, as well as the author of the classical treatise" Sangita SlIdMika,'a", however, recognise the S/torja of each of the three S' aptakas as R Grama. In justification of the vie IV taken by them, they argue that it is useless to hold the Galldlu'ira to be a Gruma, since its application is utterly unknown in the terrestrial regions. As regards the 111 adl!.vama, ~hey remark that the reasons for whieh the ancients styled it a Grama do not hold good in the present day, for there are in modern nsc several lU.gas of the Sltu.rava and Orava Scales, in wllich the Madl',yum(i is strictly excluded, such, for instance, as tho Blnipali, Bib/ulsa, &C. According to classical wOl'ks, the conditions of the three GramaB arc as follows :-

Iu the elise of the Sliarja Grama, the fiftIl Note (Panclj/lma) sllOuld remaiu on its fourth S'ru!i, and the sixth Note (Dl.aiva!a),

on its third, provided there are no alterations made in the arrangement of the S'rutia with regard to either of the notes.

In the case of the Madl'!Jama Grama, tho Panoltama should be on its third S'1'III; instead of the fourth, and tho DAaivala, though including into itself the fourth S'ruli of tIle preceding Paneltama, should remain on its own third,~the value of these two Notes being, of course, afrccted by tho altered arrangement

of the S'1'ul;8. In the case of the Gdndhara GMma, the G,;rtdh6..,.. should

take into itself tbe last S'ruti of the Risl;ablia and the first of the

.. For explauation 01 t.h __ Yjdc pootI.

."

~96 THE llUSICAL SCALES OF l'RE HINDUS.

Jl1adT.yama, and thns become a note consisting of four S'rMtis; the Dlwivata should leave off its last S"'ut; and take the last S'ruti oE tho l'ullclwma, thus continuing to be a note of three S'rtttis, (but not according to the natural arrangement of the S'aptaka); and the Ni.,/uida should take possession of the lust S'ruti left by the Dltaivata, and the first S''l'uti of SlwTja of the succeeding S'uptaka, and thus become a note of four S"·ltti8.

The following tables respecLively explain the position of the S"'lltis in the tbrec GI'limll8 as ['ecogllised by the ancient authol'ities.

SHAllJA GRAMA:

0000000 0000000000000 00

sa ,·i gu 7IIa pa dlta ni

MATJHYA~IA GUAMA.

0004) 001) 000000000 0000 00

sa ri ga fila pa d1!a ni.

GANDU.\RA Gn .. bfA.

000 00 ooou 000 000000 0000

ni sa ?'i gu rna pa dlw.

The ancients have divided the seven Notes into Prakrita or S'uddlta and Vik"ita. A Nate is considered Prakrita when it remains in its olVn position in the order of the gamut, provided with the full eornplernent of S'rltlis assigned to it, But when, by leaving off any of its own S'rlltis or by taking any S'ruti which belongs to the note preceding or succeeding it, it becomes a note possessed of a less or greater number of S'Tutis than that originally fixed fOl' it, or by giving and at the same time taking a S'ruti, of the same numbe.· as it should possess, it is then called a Vik7'ita note. The Vilerita Dote again is subdivided into two :-vi:, Clt!Jllta Vik,'ita and Acl'.'J1tta Vikrita. By tho former term is meant a note which has been removed from its fixed hold on a S'ruti; by the latter, one which, thongh retaining its own seat, becomes, by the process of giving away

~ ~~.-4k

THE lIIUSICAL SCALES OF ~'UE IIINDUS.

any S'rnti to another or of taking one fl'om it, possessed of a lees or greater number of i:i'n.tis than that originally fixed for it, or by giviog and tn-kiogone at the same time of the same number us is assigned to it.

The numbel' of Prakrita notes is seven, and that of Tlikrita Notes, twelve. They are respectively shown as under :_

000 o 000

sa "i

PRAKRITA.

o 0 0 0 0

ga ma

VIKRITA.

o 0 0 0

pa 000

dha o 0

ni

o 0000000 0000 0000 00

ni ni sa 8a "i ga gu ma ma *pa dha.

Modern musicians, howevcr, make up the number of Vikrita notes in a difTerent w"y. They do so by making the notes lUs/,aMa, GandMra, Jlfad".'1ama, D/,aivata and Nis'uUa,-}'lllt or very Flat, and Sharp or very Sharp.

According to them, thc classification is as follows :_

PRAKRITA.

0000000000000 00000000

sa ri ga ma pa dha Tli.

VIKRlTA.

000000000000 00000 000

ri ri oa oa oa ma ma dha dha ni n; Tli.

We have briefly enumerated some of tI,C principal features of the Not.es. We shall now proceed to show their application to Ragas.

A Raga is the succession of notes so an-Rngetl, according to prescribed rulcs, ns to awaken a certain feeling of the mind. Tbe notes essential to tbe composition of. a Raga are of

.. The above shows 11 Vikrita Doteil only. nut p(' bc<:omos Vikrita twice; once when pc, ie ODe S''l"Uti leBa in the M'fdhyama a,.a,m(t, RUll another time, whell in the caae of Madltyama. S6.dhdra'lJ.u" G.indll"ira takeEi the first t;"'Uli of Mddltyama, and pancltama., while standing on its 3rd S'i~u.ti, tn.kes the 131lt Sruti. of the Madhyamf£, It should be distinctly remembered t.hat the 12 Vikrifa8 as lIbown above are ma.de up by the Bha,.ia a.ud the Madhyama Ora-ma, being put

~Iog.ther.

~98 THB MUSICAL SCALES OF TDE DINDUS.

t four kinds, viz., Vddi, Samvddi, AmlVddi, and Vivddi. In the opinion of both ancien t and modern authorities, that note is called the Vad(, which, by the frequency of its application in a

certain Raga, and by the length of ita duration, shows to the best advantage the character and the living form, as it were,

of that Raga. Hence the Vdd, is called the Rcijii (king), that is, the principal note, and by Hindusthani musicians, the jan, or the life and soul, of the Raga. Any note lying with an interval of eight or twelve S'i'Utis either in the ascending or descending Scale from the V tida is called the Samvud£, or minister to the Vadi. The application of such a note is, of course, less frequent than that of the V dd", but more than that of the other Notes. When, for instance, Sliarja is the Vadl of a certain Raga, Madhyama and Panch.ama wonld be its Samvadts, as there is an interval of eight S'?'utis between Sharja and Madhyama, and of twelve, between Sltarj(t and Panchama. In the event of Rishabha being the V6.di, the Sanwaals would be Panchama and Dhaivata; in the case of GandMra, the NisMda only, there being no Pralwita note, with an interval of eight S'rutis between it and the VadE; in the case of

Madhyama, the ShaTja only (there being no other Prawl'ita note meeting the conditions); in that of Pancliama, the Sliurja and

the Risltabha; in that of DlIpivata, the Rishablla, and, ill that of Nislidda, the Gandha?·a.* The rnles given above lor

• The above is the result of caloulations made according to the modern disposition of Srwia. According to the o,ncient method~ the SClmvadii would be .. follow. :-

Yddl Sam •• a. 8hurja Mlldk!J4mu. muI Pa2lcOOmet. Ri,habh. D4.i •• ~ •• O .. dA,.... Nis4'''' •• Madhya... N"h'da aOId SA";'" Pane/lama Shatia. DlLaivata. RWwbha. Ni.k;d. O.nakll •• aOId ModAy ......

It may be noted her. that, according to the Buthoriti .. , NisMoo cannot be 84",~6d& to any other note tha.n Ganakd,.a. a.nd ",ice tler,1l. MaGhllamtJ, therefore, can have only one Sum •• dl, which will b. Sh_ry_, though according to the oaloul ... tlo .. , it is .hown to hove Ni,h6d6 too for ito S ..... "',. NioJI,4M will have G<lndA4'G only for its S«m.4d'.

~ ~

THill KUSICAL SCALES OP THill· HINDUS.

the determina.tion of the relation hetween the Vadi and the Samvadi in the case of Pralcrita notes hold good with reference to Vikl-ita notes too. Some authors nre of opinion that, except in the case of Madhyama and Paneltama (these being immediately contiguous to each other), nll notes having an equal number of S"'utis are Vad,s and Samvadis to one another. An exception, however, is mnde in the case of Rishabha and Pan. chama, as these notes, though differing from each other iu the number of S'rutis, do, as a matter of fact, stand to each other in the relation of Vadi and Samvddi, when, upon the former (HishaMa) being mnde the key-note, the latter (PancJ.ama)

takes up the position of Afadhyama. The theory therefore reo solves itself into this, that l\ Note will fillll its Samt"id, ill its fOllrth or fifth or both, provided such N otcs 11L'e admissible accord· ing to the character of the Raga.

That note, the application of which in a cert.ain Raga des. troys its character, is termed Vivad!, or the enemy.

All notes other than those whicb have been characterised as above are called Anuvtidis or subordinates.

The relation of the notes to each other is strikingly illus. trated by the Sanskrit authorities in the symbolic classification made of them according to caste and color. Sltarja, Afadl'yama, and Pancltama, each of which has four S'ruti. nttnclwcl to it, come under the BI'ulnna!}a, or the highest caste; R'islulblta and Dl,aivat,], (each having three 8'ruti8), under the Ksltat"iya, or the next class; GandM,·a and NisM.da (each having two S'rutis),

nnder the Vais'ya, or the third class; I1nd the Vikrita notes, (i.e. such notes as have fallen £l"Om their former· position), under the S'udra, or the lowest class. The names and nature of the colors attributed to the Notes are vC"y nearly the same as given by Mr. George Field in his work styled" Chromatics: or the Analogy, Harmony and Philosophy of Colors." They are given in

juxtaposition as follows:-

s !

I I

~lOO THE. MUSICAL SCAI,ES OF THill HINDUB.-----~

Names of the Color accordinIJ to Sanskrit ColO1' according to • Note •. A"tlw;";ties • AI,·. Field.

Sharja. Black. Blue. Rishabha. Purple. Purple. Gdndlull'a. Golden. Red. Madllyama. White. O.'a.nge. Panchama. Yellow. Yelluw. Dfwivala. Grey. Grey. Ni.l"ida. Green. Green.

By menns of colored diagrams, Mr. Fiehl Iras ilhlstrated the aDalogy of thc Definitive Scale of Colors and the gamut of the musicians. Anyone acquainted with both music and p,tinting will not, I'emarks Mr. Field, "lind it difficult to Clm'y these relaLions into ligures lind the forms of science universally. And as the acuteness, tone, and gravi ty of mllsical Notes, blend or run into each other through an infinite series in the musical Scale, imparting Melody to music"l composition, so do the like infinite sequences of the tints, hues, anJ shaI1". or colors, impart mellowness, or melody to colors ami coloring. Upon these gradations and successions depend the sweetest effects of colors in nature and painting, so analogous to the melody of musical sounds, that we have not hesitated to cull them the Melody of Colors." MI". Field Jt.'ts gone into details on both the melody and harmony of colors and iu music, but those details arc omitted here as being too leDgthy for, thongh not foreign to, the scope of the pl'esent treatise. It would he snfficient for the purposes of this book to ohserve th"t the Sanskt-it authol'ities on music recognized the analogy. and were perhaps, to some extent, guided by it in the determination of the concords and discords of Notes.

We now come to the examination of the essential conditions aceOluing to which the Raga8 are composed and performed. Each Raga is divided iato four parts or strains j the 1st being called the Stlui,/J(, the 2nd-the Antara, the Srd-thc SanOhWl"b,

~ ~~

T!{E MUSICAL- SCALES OF THill HINDUS. 101

and the 4th-the A'blwgG. The RagCUl are divided into three kinds j viz., (1) Sampm''!],(l" or those in which all the seven notes of the gamut are used; (2) SMrava, or those in which only six notes are used; and (3) Ora va, or those in which only five are used. Each of these three classifications is subdivided into three. These are (I) S'uddlta (i.e., pure), or those which show the character of only one Raga; (2) Ollhayrflaga or Salan/ca, or those the composition of which partakes of the nature of two Ragas artistically blended into each other; and

(3) SanHT'[}a (i.e., mixed), or those which are a mixture of three or more Ragas.

The Six Original Ragas- are the ouly in.tauces of the G'uddh(l, class. These are known by the names of S'n, Vaaanta, Bllai'l'a'IJa, Pancllama, Mcglla and Nata-naraya'[}a. Three of these Ragas are noted below :-

s'Ri. FIRs'r STRAIN.

--- --• The Six Prinoipal Rdg ... are • .n.d tba J!4f141 proper. Th. mixt ...... a,..

called either RIiqaa 0" Rog"'"

N

101 THill :V:USlIlAL SIlALI!IS O:J THill HiNDUS.

SECOND STRAIN.

, -...::.-'

.' ...... __ b_

MEGHA.

FIRST S'I'RAIN.

> -...;;""

.~ JCIl'SICAL SCALD 0' ~JIE lONDUS, 101' "

SECOND STRAIN.

~ n n P"J'"; bEt U~ a rJ

~8} 2J r, AAr U t(r r e: fr ~~A IS p ~ 1 min J' J 11

~ ~ ~ ~

NATA-NARAYANA.

FIRST STRAIN.

104 TlIB KUSIOAL SOALBB or 1'HB HINDUS.

BEOOND STRAIN.

~ 1 ffl a QJ rJtQJ= ~----

~ F-0 it] a &TJo IT

~~J' ~ffl~n~.~fffl~l§JF-~F-~n=~ ....... ~

The mixture of two of the Six Original Rdga8 with each other gives birtb to the Salanka Raga8. The mixture of Megha (otherwise caIJed Mallara) with Nata·nariiya~a has produced the Raga named Nata-Mallaro, of which the following ia the form:-

NATA.MALLARA.

FmST STRAIN.

1 . 2·,

~1~a~ll~i$1 ~J:~~ I ~; f~i\~E2iE§r i~Et~i ~~f 2 3 4 Ii ,

~ if @-f ffl ffl ;i iJ~

TO JltrSWAL lIOALIS 011 TBB HINDUS. 108

SECONDSTIlAIN.

7

~ l!ES@7~rW~QJci

9 10 ,.-.--..., "..----.,

u

A mixed Raga has a character of its own exclusive of that derived from the combination of two distinct R&ga,. In the 8dlanka Raga noted above, the passages marked I, 8, 6, 6, 8, 10, partake of the nature of MegAa, and the other passages represent NatlJ-fl&rayana.

The admixture of three or more of the Original Raga" or of any two or more of tbe Salanka, or a combination of both, called into existence the Sanklr?la Ragas. Tile blending of SrI, MIgM, and Nllla-ndrciYIJ?IIJ, for instance, produced the Raga DallIed Kamoda of whioh the notation is given lIS follows :-

lO~ THill MUSICAL SOUlS or TIIB HDlDllS.

KAMODA.

FIRST STRAIN. .

s 3 4 5 m g-pj ;;-ITI±Eff§' -- -- -

6 r _

tTl 15 t=j FJ F==t= ----SECOND STRAIN.

8

QJ a r : 8 9 10

Jti Q : ,1 ett~ iii ~ fi3 j ----

rHE MUSICAL SCAtES OF THE HINDUS. 107

11 ,..-----------------....

!!£~~i~ n= ........ --'

In the above Raga tl,e passages marked 1,3,5, 7, 9 and 11 represent ltfegha, those marked 2, 6 aud 8 are derived from Nata-naraga1]£J, and those marked 4 and 10 partake of the charneter of S'rI.

Most of the Ragas are 80 constructed that, while in the ascending way certain notes are avoided and others slightly dwelt upon, those notes are respectively applied and used in a distinct manner in the descending proces.. It is not necessary that in the performance of a Ilaga the Notes should be used in a graduated series. They are generally used iu II mixed manner. Neither is the dUI"atioll of the Notes nor their number uniform. Their variety adds not only to the grace alld heunty of a Raga, but is essential to its individuality and character, Then, again, It certain Ruga is made manifest with the MU"chcMtana* peculiar to it, without which its development is considerably affected.

~'he observance of the foregoing rules, which are some of 'the many attached to the execution of the Raga8, enables one to perform a piece with precision and with regard to the integrity of its characte". Any breach of those rules conduces to the marring of the effect of the Raga8 nnd to the mutilation of the form with which the authorities have clothed them, It is .needless to mention that it is only at the hands of skilful musicians WIIO have carefully studied the principles that justice is done to the character of the. Ragal! •

• Mllrchc/th./lfl,4, in the modern a.ocepta.t.iOli of the term, means, ,the extenaiotJ . CJt • nolo to aDoth.. in tbe ... eDdiug •• mIl .. the descending scal. without &ny break in the arrangement of the intervening Erud ..

~~~

~l08 TBB MUSICAL SCALES OJ! THE HINDUS.

It is almost generaUy compL"ined by European musician. that Hinda Musio is not perlect, because Hal'mony is not 'applied to it. Some of them despise the music of lijndnsthan, simply on this account; others very kindly ol'l'er suggestions as . to the fe8.8ibility of harmonising it. A careful consideration of the method in which vocal and instrumental music is performed in this country'oannot but lead one to the concl.sion that Hindu Masic is not altogether devoid of Harmony, though this Harmony may not be the same as tbat by which European musicians understand the term. The use of the S'reItMlankba. (a kind of musical grace) on the V.:!!oa, Setar and some cther stringed instruments, the singing in chorus by boys and adults in melo-dramatic performanoes, the tuning, in Bome inltanoes, of the dmm instmments Mridanga and Tabla &c. to the fcurth or the fifth of thc key-note adopted by tho vocalist or instrumentalist whose performanoes these pulsatile instrllmenta are intended to accompauy-all these facts, and others, tend, in BOme way, to show that the principles of Harmony are not altogether unknown to the musicians of India. Besides, oertain treatises* on Indian Musio have dwelt upon this theme and laid down certain rules for the safe application of Harmony. Bnt the use of Harmony, as defined therein, would not, it is feared, come up to the stand\rd aimed at by the musicians of Europe. The spirit of Indian Musio is against the adoption of Harmony in the Europeau import. t The Rttga is e_ntially melodio in ita character-it is a succession of notes artistically

• Uent.lan I. made In tho eluoical worlu of an lnuumerable variet,. or tho permutation aDd cotnbi<o.tiIm of Bound. ha.ing formed the lubj .. t of .tud1 with tho Musician. It ia further montioued that the uge NIIrada had Jearnt of UltIta & large number of tonal COIII6 ... 1IIioIII. ,

t Cap'. Willard, who had • .,.....tical .. quunten •• with the lubieat, maltu the following romarlu in his "Treat.iH cia tho Millie of B1DduRh ... t'-

.. Indeed 10 wid. Is tho diIFenn10e hetW80ll the natu"" of B_a aua OrfeIital UuaIc, that I co_iva • great 11U1Z11 of the latter would 6.m. tho etta.pta of tho moet ."pert coatrapunt.la' to "'" • HarmOllJ to them, bJ the HIB&IDs .aIeI of t.bU.a.-"

THE . MUSIoAI. SCAl.ms OF THE HINDUS: l09~

so arranged as to prodnce a certain effect, differing in the minutest particulars from that derivable from another Wiga.

The two Sharava Raga8, BibltiiBa, and Bhupall. for instance, are very much like each other in character, but the permutation aud the duration of the Notes applicable to them constitute a wide difference between the two as the subjoined illustrations will show :-

BIBHASA.

FIRST STRAIN.

SECOND S'rRAIN •

• o

THI!I mrSIIlAL SOALES Oll' THill mous.

BHlJPALi.

FmST STRAIN.

SECOND STRAIN.

It will be seen from the above, how the two Ragll' dilrer

from each other in essential particulars. The tunes that may be

composed out of these must necessarily partake of the dilrerence.

Two tunes composed of Bibha.a and two of Bkupali are given

as follows by way of esample:

THB MUSICAL SCALES OF THill HINDUS. III

BIBHASA. ('1'11.:11.1 1.)

Tdla--Madhgamdna.

FIRST STRAIN.

~F£fi n ::I JLQ

~ki$ ;; J ~ m f ffl 114* SECOND STRAIN.

f -a fh£rttr-g-al &it ~ I¥

~=tNTd r pll! AjMTS 15 ffiH

BIBHASA. ('l'u:ll.1 2.)

Tdla-Madhgamana.

FIRST STRAIN.

~iiP m-n r J1 tJ t.=f¥ .

~ tJ:t]1fJl e -fAl*

~1l2

SECOND STRAIN.

-1 TBB KUSICAL SCALES OP THE IDNDUS.

~#fJ==r--J r i=:JdldJqa

~n~~H

(hzI.. 1.) 'I'dla-Madk!Jamana.

FIRST STRAIN.

~~ l J fa l J 1--a=~l=a-

~ rbl$ F~~§g

~ ii M-J !Vi lag

SECOND STRAIN.

THE )[USIC!.L SCALES OF THE HINDUS. 113

mnJPALi. . ('l'uZloG 2.)

Prfla-Madhyamdna.

FIRST STRAIN.

~~dL~d =n= ~=t=5 ~

~~'lfl SECOND STRAIN.

,~~========================A

114 THII MUSIOAL SOALDS or TRJI HINDUS. -1 Two Ragal which are played on the same TIIa, (Model may

be so constitnted with reference to the permutation of the Notes, that one will widely differ from the other in cllaracter. The 86g/" Lalita Bnd Pllt'abi, for example, are played on the same TMt, viz., D tlat, F, and F sharp, and yet owing to the peculiarity in the arrangement of the Notes with regard to their aseension and deseension, the former has been classed under the group performable in the moming, and the latter under that perfol'mahle in the evening .. 'l'he two ilagal liS noted down below will show the points of dissimilarity:-

LALITA.

FIRST STRAIN'.

THill lIUSICAL SeALB! or THB HINDUS. 115

PURABi.

FIRST STRAIN.

~~ 18 1 #~~:=m¥

~-.¥W~~~--31: .............

SECOND STRA.IN.

-- --~ ~ J tm t r u rtYtthiJ bfh"

~---tft9trtJ ~ &J 6T

~4~-...........

116 THB IItrSIOAL SCALES or !rRE HINDUB.

,The illustrations given before will. it is hoped. show the nature of the difference that exists between one Raga and another. and it is by the drawing of these niceties that an end· less variety of Ragas bas been composed out of the mixture of one with another. Now. these niceties it would be next to imposaible to observe. if nn· attempt to improve upon the com. positions be made. by the superaddition of Ilny Note or Notes foreign to its nature. by means of Harmony which is a combi'IIatwn of Notes. The combined eound o[ the first and the fifth, for instance, would be a chord, and this combiuation (which is a stranger to Indian Music and. liS II sound, not recognised by it). wIlen tacked occllsionally on to a melodio piece would certainly destroy its oharact.er as II Raga. and would render the whole thing not ouly -un-Hindu Music, but a perfeot babel of foreign jargon.

The outlines of the principles of Indian Mllsie given in the preceding pages show the intricacies of the system. and should efforts be made to iutroduce Harmony into Indinn Music. without due care and attention, the effects on its integrity would be simply disastrous. For, to steer clear of all difficulties. ODe will have to see that the Notes inimical to the charac. ter of a lmga. are avoided, that such Notes which should net be used in the asceDding or dcsceDdin~ proeess are not so applied. that the rules observable with regard .to the application or Notes in a mixed Raga are not infringed. that a Note is not pr0-

longed fnrther than is necessary, that a. Note or a seriell of Notes expressed by means of the Marcllchhana are not sounded individually nnd in a detached way.-and so fortb. Hindu Music aboundsin many Rdgaa, snch as Kanara and eonra, with complicated Murcllchhanas. and others, like Gau, and Mullan., wl\crein the third or quarter tones are used, the nature of which would not admit of their being tranllOribed accolmng to the ourrent system of European notation or of

being cOl'rectly rendered on such European instruments as the Piauo or Harmonium,*-far less harmonization. A few RtiglJ8 of a simple character might be set to Harmony.

It is necessary to observe that the application of chords on the Melody is out oE the question. On the Piano and similar instruments, simple chords with the left hand might be judiciously attempted. Slwrja (0) and Panclwma (0) might be alternately made to accompany the melody, with the left hand, provided Panchama is admissible in the Raga; otherwise 1l1adhyama, when it is the principal note in the Raga,may be used. But the alternate use of two or three notes would not do away with the monotDny. which Harmony is clearly intended to

ohviate.t

It would scem, after all, that the difficulties in the way of harmonising Hindu Music are by no means fe w 01' small. Nothing but a compl'Omisc cau solve the problem. Let the European musicians modilY their rules oE Harmony so that

~:t;~t;~ :;:Sl~~ a:I~:~a~i~~:i::\~;a::~~~I::~'i:;;;~i-of the rules with which their Music i. bound hard i1nd fnst. Unl~ss both parties arc prepared to make eOllccssions, it wvuld be futile to engraft Harmony on Indian Music. 'I'he parties to

• In a supplement to thi~ book will be f,nmn a cornpal'n.tivc drawiug of the

ShM'ja a,'ama and the Europeall J>iatonic Son.1o, as CXt'ClltflJ for me by a European

friend. If I under~tand the snbjfX:t nright, the difft..:rtlllce in the intervals of the two Scales is a stumbling block to the correct rendering of the India.n notes on such instruments having iixtl{l keys a!::1 the Pi.ano alltl the IfarmonlulU. The

difficulty of playing Hillelu Riga, or tunes on Buch inRtrumonts may well be imaginedJ and how fa.r the pIau of harmonizing them ma.y be affected thereby,

I leave it to the thoughtful musician to determine.

t In the a.bsence of a t1LOrough know1edge of the principles of Harmony 88

recognised in European MURic. I could not take upon myself to give an ,i1Justration of a Ha.rmoniaed piece of Hindu Music, But I have no doubt that lomo apArt contrapuutiat will be able to furnish one 00. the lincs indica.ted.

p

'jtlU8 TUB ]IU~ICAL SCALES ·OF THE HINDUS. ---~-.~

the compromise should he such persons only as are thoroughly conversa.nt with the music oE both Europe and India, for while they apply Harmony, they should be bound to see that they give the lea8t olience,-Eor olience they must necessarily give,-to the ear of the people who have cherished with pleasure and pride a form of· music which, it is traditionally believed, has come down to them trom the heavens, or at any rate, from time immemorial, from their fore-fathers-the Aryans oE learning and fame-the early pioneers of civilization in the land of the rising SUIl.

TilE END.

Printed bll I. C. BOH &: Co" Stanhope P,'estJ, 249, Row-Ba.ar StrtJet, Calcutta.

[Supplement to liThe "cales 01 the Hindus,"l

THE 8RARJA·GRAMA illlm~~tAN nm~NlC ~CALB,

(i) 0111 octave of frets of !~e E/imilire Sanilril Shnda;;

n E I ~o incites INfil C tn C,

GaB C ~-'(I)

\

1 \1\ iuche! \ \Ql in~\el, GiiO\~,

II in~II~, \ \~ iliouIe, ! __ ~-c:(ll) -r- 1;

(til· European Diatonic Seale,

To IM1!! iii,: Prill:!!:r, '~III,\hll .Ii:,' 10111111 "11(11 Ilirl of till $,IUfrt.

~~ (III)

. Di,i,l~ Iili ,,1,,1 .. I,i"; \111" 1,,,1"\,,,,1 !ltl"\ C (I! \iU! C I';!.

" ~ Then :' .,ilI be e!\i~li ill the middle 1!lleeu C \iud C,

m,illl the C ;lli\l~ ifc,m j 10) 1\ 11110; e'\II,1 ~\!t'. t,l, E I~) I'"e·lifth [film C ~I :. ,~\wcnfd\l til the li~hl'.1 ~\I, Dlnull\eC.lllIIg 11,,',n !bll) i"~I\lll t'I,1l1 1,"11" !!I! 1,IIIC I~i '''Hi'irat. i*Cil!.

Dmiat\! I) 'tllllg (Itill" ~ I, I) i"le:' t'I""II,:i\lI, lu,1 tile B I~I ,iuon:11o til ~tl ,,\\. ' Dilldetul!l"t' ["Iru C IIi l'II~ISJ illill Ihr" "lUll \~ll\ illllli'li DilIl! nue·t~, ,I!\ ~'\ll' the !pllle (tllm G \ S I till illte :ille eq'li'r,"IS, ,""i 1.\' 11111 '!ll"UIlll:~" ,?"111 i'l. M!ffi lie IIl~e! Iicilile II! ~ch lO\edllub\e tbedislluoo from tieL

lUll modem t", .. u ,ult iii ,111I1m; t-1 rulll ~ aul f I" C lulu 11 Plrts il ulI\,I,." . '* ~ mll) be ~lecllt.l IIlim N,,- 11).

e D E F G tA B C ~-~,-l-w.~-+~-illllhll. \ 15i~\"" II ;~';,~l.\ _1\e!ililiene(l~eeIS~~~r6mll'

I· •• '""

"'j lG-l,illcla \ u~incllel \ \ I I Ilooem dil~lillll!t\e lile

,.\ B C

2Giucles,

i I K F

Page.

103

10·1

I 106

107

Slat'e,

5

2

2

ERRATA.

('orl'ccl;on8.

All F's from tho 12th Note sbould be Natllrals.

Ditto ditto 14th ditto ditto,

Ditto ditto 12th ditto ditto.

Ditto ditto 1st ditto ditto.

WITH REMARKS ON THE APPLICABILITY HARMONY TO HINDU MUSIC, · THE WITH REMARKS ON THE APPLICABILITY...

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Transcript of WITH REMARKS ON THE APPLICABILITY HARMONY TO HINDU MUSIC, · THE WITH REMARKS ON THE APPLICABILITY...