OF HINDU MUSIC. 
9 
Srd Bide. — Erery sound may harmonize with its nnison, 
its octave^ its fourth, and octaves of the 4th ; every sound 
may also harmonize in the same way with its 5th and 
octaves of the fifth. 
EXAMPLES. 
8ve of Tonic 
Sve of 4th 
Tonic \j 
4th below "^3" Tonic 
Sre of 5th ... 
8ve of Tonic. 
5th ... 
It is strange that they have not admitted the 3rd or oth 
major and minor in their concords, and have simply been 
satisfied with the Tonic and Dominant, but so it is, ;md 
further than this they have not advanced into the science of 
Harmony. 
The only use the Hindus make of these chords of Tonic 
and Dominant is to play them as a "drone," or double pedal, 
in long sustained notes throughout a melody played or sung-. 
These pedals or drones are played either on instruments 
similar in tone to the Bagpipe, or else struck together 
(arpeggio fashion) on stringed instruments of the Vina or 
Tamboor kind : they sometimes mark the rhythm and prin- 
cipal accents of the melody in this way. 
Those instruments which are only employed as an accom- 
paniment are called " Sruti," or Harmony instruments. 
PBOULIARITIES OF HINDU MUSIC. 
Hindu music abounds in grace notes, fiorituri, shakes, 
turns and embellishments of all kinds, which are introduced 
into a melody at the will of the performer, provided they do 
not disturb the time which must remain intact throughout. 
Here are a few of these embellishments : — 
