The Music of Hindostan c9.s1.37

c9.s1.37

Against it, however, it must be said (1) that this explanation is based on a solitary passage of a thirteenth-century writer, and that the scheme of the other two *grāmas*, given in full by a writer of the fifth century A.D., the principle of which can be traced to the fifth century B.C., makes no mention of a third *grāma*; and (2) it is difficult to imagine so much prestige¹ as belongs to the *gāndhāra* scale attaching to a series of notes which makes the principal interval (the Fourth) break the law of consonance by consisting of ten *śrutis* instead of nine. The *Ga-grāma* must, one would think, have been some series of notes which is as fundamental a part of Indian music as the other two *grāmas* are.