76 On the Musical Modes 



This method then of adding to the character and effect of a mode by 

 diniiniming the number of its primitive founds, was introduced by a 

 Greek of the lower AJta, who flourifhed, according to the learned and accu- 

 rate writer of the Travels of Anacharsis, about the middle of the thir- 

 teenth century before Christ ; but it mail have been older ftill among 

 the Hindus, if the fyflern, to which I now return, was -actually invented m 

 the ageofRA'MA. 



Since it appears from the Ndrdyan, that thirty-fix modes are in general" 

 ufe, and the reft very rarely applied to practice, I fhall exhibit only the 

 fcales of the fix Rdgas and thirty Rdginis, according to So'm a, the authors 

 quoted in the Ndrdyan, and the books explained by Pandits to Mirza'- 

 kha'n ; on whofe credit I mufl rely for that of Cacuhhd, which I cannot 

 find in my Sanfcrit treatifes on mufick : had 1 depended on him for infor- 

 mation of greater confequence, he would have led me into- a very ferious- 

 miftake j for he aiTerts, what 1 now find erroneous, that the graha is the 

 firil note of every mode, with which every fong, that is compofed in it„. 

 mull: invariably begin and end. Three diftinguilhed founds in each mode- 

 are called graha, nyafia, ansa, and the writer of the Ndrdyan. defines them; 

 in the two following couplets : 



Graha fwarah fa ityucto yo gitadau famarpitah, 

 Nyafa fwarafhi fa procto yogitadi famapticah : 

 Y6 vyad:ivyanjacd gane, yafya ferve 1 nugaminah s 

 Yafya fervatra bahulyam vady am 6 pi nnpotamah* 



'* The note, called graha, is placed at the beginning, and that named 

 *' nydfa t at the end, of a fong: that note, which difplays the peculiar 

 " melody, and to which all the others are fubordinate, that, which is al- 

 ' ' ways of the greater! ufe, is like a fovereign, though a mere ansa, or portion." 





