notes of a scale are arranged.  For instance, in our major mode the scale is arranged as follows:  tone, tone, semitone, tone, tone, tone, semitone.  In India there are at present seventy-two modes in use which are produced by making seventy-two different arrangements of the scale by means of sharps and flats, the only rule being that each degree of the scale must be represented; for instance, one of the modes Dehrasan-Karabharna corresponds to our major scale.  Our minor (harmonic) scale figures as Kyravani. Tanarupi corresponds to the following succession of notes,

    [G:  c’ d-’ e—­’ f’ g’ a+’ b’ c’’]

Gavambodi, to [G:  c’ d-’ e-’ f+’ g’ a-’ b—­’ c’’]

Maya-Malavagaula, to [G:  c’ d’ e-’ f’ g-’ a’ b-’ c’’]

It can thus easily be seen how the seventy-two modes are possible and practicable.  Observe that the seven degrees of the scale are all represented in these modes, the difference between them being in the placing of half-tones by means of sharps or flats.  Not content with the complexity that this modal system brought into their music, the Hindus have increased it still more by inventing a number of formulae called ragas (not to be confounded with those rhapsodical songs, the modern descendant of the magic chants, previously mentioned).

In making a Hindu melody (which of course must be in one of the seventy-two modes, just as in English we should say that a melody must be in one of our two modes, either major or minor) one would have to conform to one of the ragas, that is to say, the melodic outline would have to conform to certain rules, both in ascending and descending.  These rules consist of omitting notes of the modes, in one manner when the melody ascends, and in another when it descends.  Thus, in the raga called Mohanna, in ascending the notes must be arranged in the following order:  1, 2, 3, 5, 6, 8; in descending it is 8, 7, 5, 4, 2, 1.  Thus if we wished to write a melody in the mode Tanarupi—­raga Mohanna—­we could never use the fourth, F, or the seventh, B, if our melody ascended; if our melody descended we should have to avoid the sixth, A[sharp], and the third, E[double-flat].  As one can easily perceive, many strange melodic effects are produced by these means.  For instance, in the raga Mohanna, in which the fourth and seventh degrees of the scale are avoided in ascending, if it were employed in the mode Dehrasin-Karabharna, which corresponds to our own major scale, it would have a pronounced Scotch tinge so long as the melody ascended; but let it descend and the Scotch element is deserted for a decided North American Indian, notably Sioux tinge.  The Hindus are an imaginative race, and invest all these ragas and modes with mysterious attributes, such as anger, love, fear, and so on.  They were even personified as supernatural beings; each had his or her special name and history.