The Music of Hindostan c9.24

c9.24

Also, in no case (until the last four examples, where the scale is thoroughly established) is the basic interval filled in in exactly the same way. There are signs, indeed (especially in Nos. 1, 3, 4, 7, 8, 9, and 12), that the process was to supplement a chosen melodic interval by a residue. In No. 1, for instance, the general scheme involves large semitones (5, 5, 5). But the tetrachord begins with a quarter-tone (2), and to this there is a residue in a larger quarter-tone (3).