or HINDU KOSIC. 
15 
(who is an able performer on tlieYina, and whose brother has 
estabhshed a Hindu school of music here) . ^ind to whom I am 
indebted for all mj information on the subject, has written 
a treatise on the principles of Hindu Music, and has to a 
certain extent endeavoured to improve and extend the Hindu 
system of Notation. Here is his method : — ■ 
1st. — To determine the pitch of a melody, whether in 
the Bass, Tenor, or Treble, he uses the sign X 
for Bass, XX for Tenor, XXX for Treble. 
2nd. — To show that a note has been raised a semi-tone, 
he puts a dash over the letter indicating that 
note, thus : , when raised a full tone, two 
Ri" D 
dashes: k • The note without a dash or stroke 
D 
over it would mean that the note was at its 
lowest pitch ; for instance, their lowest D is 
D b 3 it would therefore be represented by the 
letter without the stroke. 
3rd. — He has also employed certain signs Ln addition 
to the ordinary way of indicating the Tala or 
Time in a composition. Here are the signs : | , a 
perpendicular line divides each bar as with us ; . 
a dot marks the accented beats in the bar ; — , a 
dash, means a rest or silence in the music, and 
figures placed over the notes show the exact value 
of each note. The number of beats in the bar are 
indicated by strokes placed over these figures. 
Here are a few bars of a melody written in accordance 
with M. Seshagiri's system of notation, by which it will 
be seen that, though he has certainly improved on their 
