CHAPTER VI
MUSICAL COMPOSITIONS
We have been discussing the principles of Indian music and the elements which go to make up musical compositions. We have now to see how these elements are combined into melodies. We have already seen, in the chapters on Raga and Tala, some of the things which give these melodies a distinctive character, and now we have to go into this more carefully. We shall notice that in regard to this matter also there is a very considerable difference between the north and the south. The general principles are the same, but all the forms and the names vary.
In the first place, we note that in Indian music generally,
'the primal unity of the Indian system is, as in the western system, in the tonic note or drone ; and the sense of contrast is supplied primarily by the amsa, and the notes which are related to this as samvadi, vivadi, and anuvadi. This very contrast of the amsa and the tonic, giving as it does the peculiar character to raga, imparts unity to the melody, which thus proceeds not from necessity but from freedom.'1[1]
Gamaka or Grace
This freedom is further emphasized by Grace, which in Indian music is essential, not accidental. Indian music, being without harmony, has to give a far bigger place to grace than does European music. It is the rule, rather than the exception, for the passage from one note to another to be made indirectly ; and the note with its grace makes one musical utterance.
Grace in Indian music is called gamaka. There are said to be altogether nineteen different varieties of gamaka in existence, but some of these are hardly ever used, and the more common gamaka are about ten in number. These strange and fascinating graces or gamaka have a great deal to do with the haunting beauty of Indian music.
- ↑ 1 Music of Hindosthan, pp. 280, 281.
