466 ON THE MUSICAL SCALES 



does to ^a. The intervals of the ^hadja Griivia m.ny 

 be represented as follow : 



t 8^ 

 9 



3 I 2 I 16 I 8 I ] I 



Sa 



ri 



4 I 3 I 27 i 15 [ 2 j. 



ga via ^Hi dha ni sa 



The modulation of the Madhyama GAv?Wi2 probabh' 

 took its rise from making Madhyama the 5th note in 

 the scale : in which case you will l\ave 



Nl sa ri ^a ma fa dha, 



OR, 



S/ ut re ml fa sol h. 



This is precisely the diatonic scale of the Greeh ; 

 and here it became necessary to render Dha a commp. 

 lower in the scale, which the Hindus express by making 

 Dha receive one S'fuii from Pa. The alteration, thus- 

 suggested, they adopted ; and with it formed their 2d 

 scale from the ShaJja Grama, ^\\\v\g it the name of 

 Madhyama, probably to denote its origin. 



The Gandhara Grama appears to have a similar 

 origin ; by making Gdndhara the 6th, This wiM pro- 

 d^jce. 



Dha ni sa re ga- ma pet. 



OR 



Im si li-t re mi fa soJ. 



Which Is the natural minor mode La: but keeping^ 

 $a as tlieir first note, the Plcrits, or changes before 

 mentioned, became necessary, to give it the same 

 modulation ; and it was probably called Gdndhara 

 Grama to denote its origin* 



