THE 



Musical Mo d e s 



£&> 



*, ga, ma, pa, *, ni. 



jfa, 



*, ga, ma. pa, *, ni- 



Jg a ' 



ma, pa s cUia> ni, fa, *. 



82 On 



Hindola : 

 Ramacri : 



DefacJJriz 



Lellta: 1 dha, ni, fa, *, ga, ma, * 



Velavatl: I dha, ni, fa, ri, ga, ma, pa* 



Patamdfijarl J^pa, dha, ni, fa, ri, ga, ma, 



Dipaca; ffa, ri, ga, ma, pa, dha, ni. 



JOisi : I ri, ga, ma, *, dha, ni, fa. 



Cambodis: J dha, ni, fa, ri, ga, ma, pa.. 



JSfetta: 1 fa > ni, dha, pa, ma, ga, ri.- 



Cedari: j ni, fa, *, ga, ma, pa, *. 



Carnati: |ni, fa, ri, ga, ma, pa, dhai... 



Megha ; fdha, ni, fa, ri, ga, * * 



Tacca : "j fa, ri, ga, ma, pa, dha, ni.. 



Mellaril 1 dha, ni, *, ri, ga, ma, *. 



Gurjari; 1 ri, ga, ma, pa, dha, ni,, fa.. 



Bhupaliv I fa, ga, ma, dha, ni, pa, ri.. 



Defacriz \Jk, ri, ga, ma, pa, dha, ni. 



It may reafonably he fufpe&ed, that the Moghol writer could not nave* 

 fhown the diftinction, which muft necefTarily have been made, between the 

 different modes, to which he affigns the fame formula; and, as to his in- 

 versions of the notes in fome of the Raginis, I can only fa.y, that no fuch. 

 changes appear in the Sanfcrit books, which. I have infpe&ed. I leave our; 

 fcholars and mufkians to find, among the fcales here exhibited, the Dorian* 

 mode of Olympus j but it cannot efcape notice, that the Ghinefe fcale 

 C, D, E, *, G, A, % correfponds very nearly with ga, ma, pa, * ni, fa, * 

 or the Mdrdvi of Soma 1 we have long known in Bengal, from the infor- 



