The Music of Hindostan c11.218

c11.218

and these entail no harmony except that of the Fourth and its derivatives, among which the whole Tone. Indeed the construction of the *Sa-grāma* and *Ma-grāma* (see pp. 109 foll.) point to a stage of Indian music when the Pythagorean Third (derived from the Fifth) was being exchanged for the harmonic Third (heard directly) which has left its impress in this and other ways on the national art. There is of course no hesitation about this interval (the harmonic major Third) nowadays. A singer when preluding often touches the common chord of the key note, and will do this even when the Third of the *Rāg* he is about to sing is minor.