manner in which the 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
_Dehrásan-Karabhárna_ corresponds to our major scale. Our minor
(harmonic) scale figures as _Kyravâni_. _Tânarupi_ corresponds
to the following succession of notes,

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

_Gavambódi_, to [G: c' d-' e-' f+' g' a-' b--' c'']

_Máya-Mâlavagaula_, 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)