OP HINDU MUSIC. 
3 
This will be seen to be an Enharmonic Scale^ differing in 
some respects from ours : 
HINDU ENHARMONIC SCALE, 
EUROPEAN ENHARMONIC SCALE, 
I 
I have bracketed together all the enharmonic intervals 
m both lists. 
The contraction of the words (1) Sadja (2) Risabha 
(8) Gandhara (4) Madhyama (5) Pancama (6) Dhaivata, 
and (7) Nisada^ without their prefixes are Sa, Ei, Ga, 
Ma, Pa, Da, Ni, which correspond to the 7 syllables Do, 
Re, Mi, Fa, Sol, La, Si, of our Music ; here are their forms 
in Sanscrit characters. ^, 1^, JY, IT, 'T, ^. 
Sa, Ri, Ga, Ma, Pa, Da, Ni. 
These they employ in notation, and in naming the notes 
for facility in singing. 
To form a scale or Raga (as it is called by them) they 
have taken seven notes and the octave of the first note, out 
of the twelve "semitones, as they recognize the interval of a 
quarter tone, that is a slight difference of intonation 
between say Re# and Mi b , (D |^ and E b ). They find as 
many as seventy-two different combinations of seven notes 
out of the whole of their Enharmonic Scale ; they are not 
allowed, however, to use a note and one which would be 
nearly identical in pitch with it in the same combination ; 
also Do (C) and Sol (G) are not altered by any " accidental" 
