6 
NOTES ON THE PRINCIPLES 
occm' on tlie 7th., 3rd and 4th degrees of a scale like tlie 2nd 
abovementioned, thus :■ — 
/] i * ^ 
h _ it . — . Q 
\ „ ^ C 
\l- ^ bo ^ ff^ ^ 
where the 3rd, 4th and 7th degrees would be accidentally 
raised a semitone. An example of this will be found in a 
Hindu melody called " The Kapi of Hindoostan." of which 
I here give a few bars : — 
3 
MM 
3 
3 . , 
3 1 
3 
rt>n; [J :[|: V I LIT LT I LLjiLJ I lJ t r I LT ^ r Ire: 
If we examine this tune, we shall find that it is derived 
from the following scale : — 
i 
— ^ 
^ — ' 
that is a minor scale, without a leading ntite (i.e., a seventh 
a semitone below the octave), so characteristic of our 
modern tonality, whether iu the ^Tajor or ^ifiuor mode. 
Therefore, the B Ij in the half bar beginning the melody 
just quoted, which is marked with a cross, and the E fi in 
the same bar, and also those in the 9th (though they be 
