The Music of Hindostan c17.146

c17.146

The four phrases marked *a*, *b*, *c*, *d* have this in common, that they all make the high or the low F the climax of the rhythmical figure (it might almost be called the *aṃśa*). They also increase in sweep and complexity. But the point here is that they are ‘strettoed’— that the F in *c* and *d* increasingly antedates its arrival, and that the cross-metre which this involves does much to heighten the interest.