The Music of Hindostan c9.s2.66

c9.s2.66

We may notice in passing that this principle extends to the *svaras* also. A *Rāg*, *Pilu* for instance, has an E and an E♭ with a D and a F on either side of them; but in a given passage either E or E♭ will occur, but not both as a rule. And the principle, though not so strictly carried out, may be traced with tones as well as semitones. It is not at all uncommon for a *Rāg*, especially in southern India, to omit a note in ascent, but its next door neighbour in descent. Two notes, A and B♭, being ‘in’ the scale an ascending passage will employ by preference G A–C, a descending C B♭–G; though quite possibly both notes will be used occasionally. The same thing is common enough in our own Folk-song: