The Music of Hindostan c9.s2.107

c9.s2.107

And the same fact is present, of course, whenever the whole tone scale is played (204 × 6 − 1200 = 24), the musical effect of which is closely comparable to that of the *Pratimadhyama* scales of India. Then there is that magnificent mounting bass which compasses a Fifth in seven semitones (112 × 7 − 702 = 82) towards the close of the Finale of Schubert’s C major Symphony; and there are no doubt instances of other such intervals. The point is that we use enharmonic intervals for precisely the same reason as the Indians—for their jubilant or pathetic effect; only we do it in a different way. Equal temperament has nothing to do with this matter—we hear the effect in the orchestra and imagine it on the piano; though it has a great deal to do with the vocalization of a melody.