The Music of Hindostan c10.79

c10.79

and the *madhyama* (A) of the *mūrchana*, the meeting point of two similar tetrachords, becomes the *aṃśa* of the *Rāg*, the central note of the tessitura, while a new note, C, is now the ‘imperishable’, &c., *madhyama* of the *Rāg*. But in the new *Rāg* there was no need to have the tessitura always in one place, since the character of songs that might be sung in it varied; and it might be moved, without doing much violence to the Rāg, to any note except B♭ and E (of this particular Rāg), because at neither of these points could the amśa be the meeting point of two tetrachords. If it was moved to either of these points, B♭ for instance, there was a tendency to flatten the E and so to develop a different Rāg.