The Music and Musical Instruments of Southern India and the Deccan c11.13

c11.13

The chief defect apparent in the construction of Indian instruments, besides what are mentioned above, is one which affects them all—viz., that without altering the tuning a change of keys is impossible. This may at first sight seem incongruous, for the vina is semitonic. But it must be remembered that the third and fourth strings of that instrument, though they pass over the finger-board, are seldom stopped, and such devices as shifts are *absolutely* unknown. There is likewise no method of tuning to any fixed standard of pitch. Willard, in speaking of this, makes the following observations:—"A drum or tabor, the sound of which is necessarily monotonous, is an ever attendant and inseparable companion to Indian songs, whether any instrument be present or not. Its sound is taken as the keynote, and all other instruments that may be present and the voice are regulated by it. From this it appears that as long as the use of the drum or tabor is not laid aside there will be no necessity for change of keys, and the rhythmical nature of Indian music renders a liberal use of the drum more essential, in order to mark the time distinctly, than any other accompaniment."⁴