Swarams of the Octave, the mother ragas derived from them and the principle of change of graham - which most of them do accept - then the 22 Srutis exist nowhere.

The members of this school along with Mr. Clements, their captain, base their theory on the system of obtaining their so called harmonic or natural series by proceeding by perfect fifths or taking 2/8 the length of the string for each step or by the SA PA principle. But, to speak the truth, a few steps of this progression will land them in difficulties and they will tumble into the ditch! and never live to see the end of the Octave ! How could the product of a recurring decimal like 2/8 ever come to an end? English musicians known that progression by fifths can never completely end the octave unless some manipulation is made. Piano tuners always tune the pianos by slightly flattening the fifths or else the perfect fifths in the course of progress will gather momentum and the result will be like the howling of the wolf ! ‘Beware of the wolf’ is the caution given to Piano tuners ! The trouble will commence even at the third step when you come to decide the interval from D to A and from A to E. From this step forwards a number of artificial aids will be necessary such as cutting down a few vibrations here and there to keep up the farce of the progression by 2/3!! This is why they cry down artificial intervals and say that “Artificial music is an abomination.” I quite endorse this opinion and say, “yes, it is execrably so.” Only the advocates of the 22 Srutis have recourse to this abomination. But the author does not base his system on this “equalised abomination” but establishes the existence of a gradually ascending equal series in nature which was in vogue among the Tamilians for centuries. The demonstration of the practical side of this system has been very ably done on several occasions by the author’s two daughters Srimati Maragathavalli Ammal and Kanagavalli Ammal, about whose admirable efficiency in Indian and English music I can personally testify.

The author has given a number of tables and statements which give the calculations &c., of the various systems, reducing them all to one common standard (32 inches wire) for purpose of easy comparison, and also Rasi chakrams where his series are arranged in the fours Palais of the ancient Tamils. This part of his work reflects, in a remarkable degree, the intelligence and patience of the author. A close study of them will be well worth the trouble.

The Indian is a highly conservative being, and any theory, whether right or wrong, which has been honoured by time will never be easily given up by him. Yet in the midst of this conservative nation we find many rational beings who are not afraid to proclaim the truth from the housetops when they known it to be true. It is a matter for pride that the truth of this theory has been accepted by such distinguished musical experts like Seshanna and H. P. Krishna Row of Mysore, Veenai Venkataramanadoos of Vijianagaram, Mutthaya Bhagavater of Harikasavanallur and others. Truth will triumph.

I have not the slightest doubt that the publication of this book, though it may cause a flutter in the dovecotes of the Dwavimsatiites, will be an epoch making event in the history of the Music of South India. That it will create a wide interest in musical circles is certain. But, I hope, it will popularise the ancient Yal or the Veena used so much by the ancient Tamils on account of its capability to reproduce faithfully the human voice and the minutest Srutis. It is sure to rouse the Karnatic Music from its present lethargy; it is sure to rescue it from the hands of the few professionals who blindly follow it and keep it as their heritage and throw its portals open to all without distinction of caste or creed so that it may become a part of the daily life of every Indian.