Encyclopaedia of Tuning

© 2004 Tonalsoft Inc.

5-Limit Implications of Ancient Indian Tuning

© 1998 by Joseph L. Monzo


    Donald Lentz, 1961. Tones and Intervals of Hindu Classical Music
    University of Nebraska Studies, Lincoln.

    Joseph Monzo, 1998. JustMusic: A New Harmony

    The following was sent to me in reference to this page:

      Date: Thu, 03 May 2001 21:41:33 +0200
      From: Martin Spaink
      To: monz@juno.com
      I'm Martin in Amsterdam (1961). I read some of the article, what I could
      follow, but I also read some misinformed remarks concerning Indian music.
      Of course the exact pitch of a paricular tone in a particular raga has
      always been a point of debate even among musicians. Also, much depends
      on the tone-quality, the harmonic content. I study a very old style of
      vocal  music through lessons with a great singer from a family that has
      been keeping this tradition for 20 generations, and they are noted for
      extreme meticulousness in intonation and timbre-control. But as their
      manners of verbal expression, understanding, experiencing akouphenomena
      differ so much from our own, it is not possible to share the
      information. Westerners such as myself are in a different postion as
      they can combine both approaches. 
      The remarks at the bottom of the article about vadi and samvadi are not
      correct. It means 1st and 2nd most important tones in a certian raga,
      which can be Sa and Pa (1st and 5th) but this depends on the character
      of the raga. In raga Shri it is Pa and very low Re, in Multani the
      raised 4th and high 7 and so fourth.
      Have you ever run cooperation with traditionally Indian-educated
      best wishes, martin spaink