The Music of Hindostan c11.280

c11.280

We can see also why the C major mode was out of favour: it did not supply what was most valued in a mode, the antithesis of the Final (in this case C) with the ‘strong’ note (which was, in all the modes, C). It is interesting to find that in India the major mode pure and simple is at a similar discount. Still the Indian *Rāgs* are not so closely parallel to the Ecclesiastical modes as to the Greek; for the former lay much more stress on the Fifth, whereas in the latter the Fourth is the principal factor of consonance: in the Ecclesiastical a rather firm line is drawn also between authentic and plagal modes, a distinction which is on the whole foreign to Indian music.