treasures. In course of time, some characteristic errors have also crept in. Some Ragams have become invested with certain errors which embarrass even the best Indian musician. These errors are now justified either on the score of antiquity or heredity, or considered too sacred to be rectified as they originated from Rishis or sages of old. Recently, an Indian musician who noticed a Sruti difference in the Anandabhairavi, derived from the Natabhairavi. (the 20th Mother-Ragam) was afraid that he had to regard it as generating from 8 different Mother-Ragams. Another musician held that the very error had its beauty. And others said that when it was sung rightly. according to the Sruti pertaining to the Mother-Ragam. the result was simply charming. As there is such a variety of opinion among musicians of repute. they do not care to rectify themselves but go on singing it as they have received it from their predecessors. and do not care to inquire into the fundamental theory of Music. It has scarcely occurred to them that there must be in existence one theory and one law of constructing melody for all people from the Himalayas to Cape Comorin and from the Indus to the Bay of Bengal. If there be one such law acceptable to all, Indian Music is sure to reach a position of eminence.

Though at the outset it may appear an Herculean task, yet it is possible to sing all the 171, 396 melodies, everyone of which has a charm of its own. A precise knowledge of the law of melody is all that is required to get over the existing doubts and errors. The practice will be found comparatively easy by those who have a real ear for Music.

Talking of Western Music, it may be said that of the 6 melodies based on the 8 white notes from C to C, the first, namely the Dheerasankarabharanam is sung in English Music with the admixture of Srutis belonging to the other 5 melodies and some times clean without them. The resultant melody resembles Sankarabharanam in several places. but it is not entirely that, nor is it Thodi or Kalyani.

The Indian musician has "Moods" to express the thoughts of his mind and Alapanams to bring out the choicest parts of a Ragam. while the subtlety of time and his own ingenuity are shown by means of the Pallavis. It is impossible to harmonise such intricate portion of the Indian Music. But I know, however, from my own experience. that simple Keerthanams and Swarajatis (plain singing without Alapams and Gamakams) can be beautifully harmonised. Musicians who have heard Indian Music sung to four parts admit that it is exquisite. I am of opinion that, as the Indian musician cultivated melody alone, he advanced beyond the middle stage of simple and popular Music into realms of intricate and subtle Music to show off his ingenuity in exposition and variation.

My idea is to give a specimen Keerthanam or Swarajati for each of the above mentioned 6 Ragams in the course of my next article. I have given, however, the following.

What I have already said and what I intend to say in the succeeding articles may not be altogether new to my readers and may not be of any real value to them or it may be considered impracticable. Again in some respects I may be over rating the importance of my subject or may fail to do it justice. Yet it is my earnest desire to try