The Music of Hindostan c9.s1.20

c9.s1.20

But if we reflect that the scale is always spoken of as a ‘set of seven’ (sc. intervals), whereas it consists actually of eight notes, that these seven are always given as beginning with Sa, and that a scale so taken (from N-note or Sa-interval) satisfies the demands of the practice (in Chapters I and II), we shall not be disposed to attach too much importance to this *obiter dictum* of verse 25, even supposing that were the only way in which it could be interpreted. We assume, therefore, that the *Sa-grāma* begins with the Sa-interval, on the N-note (our C).