The Music of Hindostan c16.8

c16.8

Indian theory would not of course allow that the A♮ of the anupallavi involved a change of Rāg. That note is introduced only to form the ‘strong’ tetrachord (see Chapter XII), but the effect is indistinguishable from what we should call a key contrast. The caraṇam begins with phrases of the pallavi and ends with those of the anupallavi, and is preceded and followed by the cadenza.