Indian Antiquary Vol 41

Author(s): Richard Carnac Temple, Devadatta Ramkrishna Bhandarkar
Publisher: Swati Publications

Page 166

162
THE INDIAN ANTIQUARY
[JULY, 1912.
considered as equal to twelve semitones, and the intervals between the successive notes of the major mode may be roughly given in semitones as follows:
Notes ... ... ... ...ode f g a b c
Intervals in semitones ... ... 2 2 1 2 2 2 1 This is evidently only a rough statement, as, strictly speaking, the interval between c and d is not equal to that between d and e, nor is eitber of them exactly double of that between e and f. But let us now suppose that the interval of an octave is subdivided into twelve exactly equal intervals, which we shall term 'equal semitones' (E.S.). Then evidently the interval of an octave 2=(E. S.)', or one E. S. = 12 2. Taking this as our unit, we can express any interval in terms of it.
Thus the interval between c and d expressed as a quotient is
; and it we want to find the
number of equal semitones in the same, we have the relation 12 2 * = = which gives x = 2.04 nearly. To avoid decimals, we may pat one equal semitons = 100 cents, and say that the interval betweon c and d is 204 cents, instead of 2.04 equal semitones. The pitch of the different notes of the major mode may now be expressed as follows:
Notes... ... c d e f g a b c
Cents... ... 0 204 886 498 702 884 1088 1200 and the intervals between successive notes thus :
Notes... c d e f g a b c
Cents... 204 182 112 204 182 204 112 One convenience of this method of expressing the value of musical intervals is readily seen. viz., that they can be expressed by means of differences instead of by quotients. Moreover, a comparison of different systems of dividing the octave is thereby rendered easier.
The Notes of Hindu Music From the S. R. I. iv. 38 and Náradi-Sikshi I. i. 2-3, it would appear that a sik was chanted in monotone, & gatha to two notes, and a sdman to three notes/0. A scale of four notes also seems to have been in use and was called warántara (Vern. suratar). In what relations of pitch the notes stood in the last three cases it is impossible to say, though at first in reading Náradi-Siksha I. i. 9-13, and I. v. 1-2, one entertains a hope of being able to make a guess.
We are also ignorant of the stages by which the three notes of the shman chant rose to the number of seven, nor can we say, with certainty, what relation these seven sáman notes bore to the later seven notes of music. The former were named crushta, prathama, dvitiya, tsitiya, chaturtha, mandra and atisvára. 11 It is certain that these are in descending order of pitch, but in what exact relation, it is impossible to say. The Naradi-Sikshd does indeed in one place say :
: TMT : TUTA: POL ar feda: Turek T: : IRIH
चतुर्थः षड इत्याहः पञ्चमो धैवती भवेत् ।
षष्ठी निषाहो विज्ञेयः सप्तमः पञ्चमः स्मृतः॥२॥ (Translation-The first note of the Saman chanters is the madhyama of the flute, the second is the gândhara, the third is known as the rishabha, the fourth is callei the shadja, the fifth is the thaivata, the sixth should be known as the nicháda, and the seventh the panchama.)
10 Soo also S. R. (Calenta), p. 70, 11, 17 et seq.
11 Naradt Siksha I. i. 12; S. R. I, i. 25, Comm., where they are incorrectly spelt; A. O. Burnell's Arah eyerahmana-The Saman Chants in S, M. Tagore's Hindu Music from various Authors, 2nd edition.
19 Nanads-Siksha, I. vii, 1-2, A. C. Barnell Loc. cit.