The Music of Hindostan c11.5

c11.5

In these lists the notes shown by a crotchet head are those which are comparatively lightly touched; which are (1) used in ascent only or descent only, as the B♮ and B♭ in No. 11, or (2) are more or less optional, as the F and F♯ in No. 63. In this *Rāg* the usage is E F E and G F♯ G, never, as a rule, E F♯ E or G F G; while in the passage from E to G, or the reverse, either an F or an F♯ may be used, but F♯ more commonly is used. This is very much the same as the mediaeval *Musica ficta*. And (3) some *Rāgs* are on their way from being transilient to being complete; though all the notes are potentially there, some of them are as a rule jumped. This is the case in No. 60, where the D and the A are occasionally heard, but never dwelt upon. It did not seem worth while to go into the details of each *Rāg* in this matter, even if sufficient and accurate knowledge had been forthcoming; but these three principles throw a good deal of light on the conception of *Rāg*.