Analysis of the evolution of musical forms . igii^^^Pr^^^^ ^1 ii[^—fir r I p=^ti! Mf ^^fJ^!^=fMf^. f 4=1:: ^s. m^^^ ^ ^^^^^^^ $ 7^ :g7 ^ F^^^ ^s~^ *^ ^ ^m Ed= r I S 1^1 1^^ 4=:= =4 --m- * Transcribed from the original parts in tablature by the Rev. F. W. Galpin. beat-value is changed from tsi to •< The 1 APPENDIX 291 THE EVOLUTION OF ASIATIC TONALITY The following sections are designed to show something of Asiatictonality from its rise in microtonal conditions to its developmentin the Hindu raga. In sections O. and P. it is essential todistinguish between the tonic and the scale-tone ; the
Analysis of the evolution of musical forms . igii^^^Pr^^^^ ^1 ii[^—fir r I p=^ti! Mf ^^fJ^!^=fMf^. f 4=1:: ^s. m^^^ ^ ^^^^^^^ $ 7^ :g7 ^ F^^^ ^s~^ *^ ^ ^m Ed= r I S 1^1 1^^ 4=:= =4 --m- * Transcribed from the original parts in tablature by the Rev. F. W. Galpin. beat-value is changed from tsi to •< The 1 APPENDIX 291 THE EVOLUTION OF ASIATIC TONALITY The following sections are designed to show something of Asiatictonality from its rise in microtonal conditions to its developmentin the Hindu raga. In sections O. and P. it is essential todistinguish between the tonic and the scale-tone ; the pitch of thetonic is stated and tlie scale-tone used is C. This is the toneadopted invariably by the Raja Sir S. M. Tagore in translatingHindu music into European notation. It does not mean that theactual pitch of C is necessarily used, but it represents a system ofrelative pitch notation for the use of singers. The original Hindunotation is the counterpart of our Tonic Sol-fa, but the Rajaadapted it to the European letters of the scale of C. Theadvantages of using this scale only in stave n
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Keywords: ., bookcentury1900, bookdecade1900, booksubjectmusicalmeterandrhyth
