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notes as they may fall together in the air.* This in itself, it will be 

 admitted, is rude and unsatisfactory ; but by certain signs, such as dots, 

 curves, and other marks, the written notation becomes intelligible to 

 performers ; and as taught at present, the scales, and vocal and instru- 

 mental exercises of learners, some of which are extremely complicated 

 and difficult, consist of repetitions of the primary notes of the gamut, 

 in the time and tune intended. 



Each note is divided into halves, thirds, and fourths, which are de- 

 fined by signs and marks attached to the notes of the gamut, and can 

 be expressed by the voice ; or, taking the vina as the standard instru- 

 ment, on and between the frets, by a manner of fingering known to per- 

 formers and teachers ; and the sarungi, or violin, can be used with simi- 

 lar effect. 



Again, taking each fundamental sound separately, the classical defi- 

 nition or doctrine of sounds admits and defines seven variations to each, 

 which become the leaders of a series of other modes. Thus we find 

 7 x 12 = 84 modes : seven primary, and seventy-seven secondary, which 

 are known under their separate appellations. The requirements of the 

 classical system are, that each melody formed upon any of the above pri- 

 maries or other adjuncts should be complete in itself ; and no deviation 

 from this rule is recognised or permitted. The modes are distributed 

 over the hours of the day and night ; and no professor of Hindu music, 

 or educated performer, would be held excusable by a critical audience, 

 if he transgressed propriety so much as to introduce at a wrong period 

 songs, or instrumental performances, which belonged to another. 



In illustration of this rule, Sir William Jones observes: — " A me- 

 lody, or phrase, commencing with 



D.E.E#G# A.B.C# D. 



where the first semitone appears between the fourth and fifth notes, and 

 the second between the seventh and eighth, as in the natural scale ; and 

 the GJf and 0$, or ga and ni, of the Indian authors, form our major 

 mode of D : — such a melody must end with the fifth note from the tonic, 

 and it would be a gross violation of musical decorum to sing it at any 

 time except the close of day." 



Another mode of division, which is perhaps more modern, is the di- 

 vision of the six primary notes into fifty-four modes, by an allegory. 

 Bhairava, Malava, Sriraga, Hindola, Dipaca, and Megha, are six 

 nymphs, each of whom is married to a Bagini, and each has eight chil- 

 dren. Thus we have six nymphs, as primary notes ; six semitones, as 

 husbands ; and forty-eight children, as minor modes or divisions ; 

 making fifty-four in all. 



A third system divides the rags or modes into six primary, and 

 thirty secondary. Each of these is known by the note which begin s it or 

 ends it. As an example, the Sri raga corresponds with our major scale; 



* In like manner our own music might be written and read from the notes themselves. 



