1. In the Piano or the Harmonium, the scale played from the middle C to its octave and back is the basis scale for the 29th Mother-Ragam in Indian Music, known as Dheerasankarabharanam. In English notation the scale and Ragachurukkam (a simple specimen of the Ragam) of this will be as 1 on page 240. A.

2. With D as keynote, if 8 successive white notes be sounded, we get the basis-scale for the 22nd Mother-Ragam known as Karaharapriya. The scale and Ragachurukkam will go as 2 on page 240.A.

3. With E as the keynote if 8 successive white notes be played we get the basis-scale for the 8th Mother-Ragam known as Hanumathodi. The scale and Ragachurukkam is as 3 on page 240. A.

4. With F as the keynote if 8 successive white notes be played we obtain Meshakalyani, the 65th Mother-Ragam. The scale and Ragachurukkam will be as 4 on page 240. A.

5. With G as the keynote, if 8 successive white notes be played we obtain Harikambodhi the 28th Mother-Ragam. The basis-scale and Ragachurukkam will be as 5 on page 240. B.

6. With A as the keynote, if 8 successive white notes be sounded we get the 20th Mother-Ragam or Natabhairavi. The basis-scale and Ragachurukkam will be as 6 on page 240. B.

7. With B as keynote if 8 successive white notes be sounded, we get a Ragam named Sutha Thodi without G. This is regarded as a Janyam from Hanumathodi, the 8th Mother-Ragam. The basis-scale and Ragachurukam will be as 7 on page 240. B.

N. B. - In all Indian Music, each Ragam commences with C which is the first note of the basis-scale: therefore when we speak of a scale commencing with G we really mean it commences with C, but the intervals are arranged as if the scale were played on the white notes only. from G to G. For example, if the Harikambodhi scale be G A B C D E F G, the semi tones fall between 3 and 4, and, 6 adn 7. So the real Harikambodhi scale will be C D E F G A B and C. The 12 white and black notes of an octave in the Harmonium and the 12 notes of the octave on the Indian Veena are just the same. Only the intervals between these 12 Swaras, say, tones less than a semi-tone, cannot be sounded on the Harmonium. So, at the outset, it is easy to understand what are popularly known as the 72 Mother-Ragams, derived from these twelve notes and their tonal relationship. The peculiar excellence of Indian Music consists in singing according to given Sruti the thousands of melodies derived from the 72 Melams or Mother-Ragams based on the 12 notes of the octave. without allowing any admixture of other notes, and strictly according to given laws. But this unique system of singing is undergoing a gradual change in the hands of Indian musicians, from time to time. either by the Sruti of a melody getting a little changed or by the admixture of strange sounds or by the absence of a definite system of laws to which all the various melodies may conform. As a result of this, some melodies, Keerthanams and Varnams have become individualised and handed down to posterity, may, they have become family