64 On the Musical Modes 



fpecified in the following verfe : 



Mdniagraha fa nyaso'c'hild hijejafiufayahne* 



The name of this mode is not Indian ; and, if I am right in believino- it a 

 corruption of Hijaz, which could hardly be written otherwifein the Nagari 

 letters, we muft conclude, that it was imported from Perfia : we have difc. 

 covered then a Perfian or Arabian mode with this diapafon, 



D, E, F#, G#, A, B 9 C#, D; " 



where the firft femitone appears between the fourth and Jijth notes, and the 

 fecond between the f event b and eighth ; as in the natural fcale Fa, fol, la, 



Jt, ui f re, mi, fa: but tl e C .^, and G ^, or ga and ni of the Indian au- 

 thor, are varioufly changed ', and probably the ferhs may be formed in a 

 manner not very different (though certainly there is a diveriity) from our 

 major mode of D. This melody muft neceilarily end with the fifth note 

 from the tonick, and begin with the tonick itfelf ; and it would be a grofs 

 violation of mufical decorum in India, to fmg it at any time except at the 

 clofe of day : thefe rules are comprized in the verfe above-cited j but the 



' fpecies of octave is arranged according to Mr. Fowkb's remarks on the Vina? 

 compared with the fixed Swaragrama, or gamut, of all the Hindu 

 muficians. 



Let us proceed to the Indian fyftem, which is minutely explained, in a 

 great number of Sanfcrit books, by authors, who leave arithmetick and 

 geometry to their aftronomers, and properly difcourfe on mufick as an art 

 confined to the pleafures of imagination. The Pandits of this province 

 iinanimoufly prefer the Damodara to any of the popular Sangitas ; tu£ 

 I have not been able to procure a good copy of it, and am perfectly 



