OP THE HINDUS, 46l 



semi-tone, and that between Ga and Ma becomes a 

 minor tone. 



2d. Panchama loses one ^ruti to Gandhara, 



I AM at a loss to know how this can take place ; I 

 rather suspect an error in the text, and would propose 

 to substitute Dha the sixth note instead of Gandhara. 

 The three S'ruti of Panchama make the interval between 

 the 5th and 6th: by losing one, it is reduced to a 

 semi-tone ; but it cannot lose this one to Gandhara, 

 which is the third note. There are but two methods of 

 reducing this interval to a semi-tone : one by raising 

 the fifth note ; the other by rendering the sixth flat. 

 But here the interval between the 4th and 5th remains 

 unaltered. It must in this case be done by making 

 Dha the 6th note flat ; or, in the language of Hindu 

 music, by giving one of Panchama s S'rutis to Dhai- 

 "oata* 



3d. Suddhaswara gives one S'ruii to Nishada. Here 

 Nishada is rendered one S'ruti fiat. Suddhastvara is 

 not the name of a note ; but is explained to me to be a 

 term applied to a note possessing irs full compliment of 

 S'rufis. It may, therefore, be applied, in this case, to 

 Dhaivata ; for, although it may give one ^riiti to 

 Nishada^ yet it gains one from Panchama, and still re- 

 tains four complete S'rutis. 



Jp these conjectures are admitted, and we compai'e 

 it with the Madhyama Grama (to which these changes 

 evidently refer), it will stand thus : 



