The Music of Hindostan c17.149

c17.149

Following the skeleton given below the tune, the four sections are of equal length (practically three crotchets) but iii begins one quaver late, and iii and iv overlap. The A in iv is an appoggiatura for G, and is to be considered as a long G. The semiquaver in III corresponds to the acciaccatura in II. Then, ii repeats i in double time, at a higher level, preceded by a link note; iii reverses ii; iv repeats ii at the level of i, doubling the time of ii (quadrupling the time of i) and lengthening out the link note. Again, I is unadorned, II adds a semiquaver (acciaccatura), in III this becomes two semiquavers, and in IV three semiquavers. There is not a single note which is not doing duty. What makes this closeness of structure possible is that harmony allows of any note being taken at any interval; in an Indian tune, for instance, if the leap in II were possible that in IV would be less possible, and vice versa, and that in III would be impossible in any case; or again, if the downward progression in II were possible the upward in III would very likely not be so in that particular *Rāg*.