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 _Mohànna_, 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
_Tânarupi_--_raga Mohànna_--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 Mohànna_, in which the fourth and seventh degrees
of the scale are avoided in ascending, if it were employed in
the mode _Dehrásin-Karabhárna_, 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. It was proper to use some of them only at midday,
some in the morning, and some at night. If the mode or _raga_
is changed during a piece, it is expressed in words, by saying,
for instance, that "_Mohànna_" (the new "_raga_") is here
introduced to the family of _Tânarupi_. The melodies formed
from these modes and _ragas_ are divided into four classes,
_Rektah_, _Teranah_, _Tuppah_, and _Ragni_. The _Rektah_ is in