We have stated that there are seven chief tones; these tones have short monosyllabic names; as we give to our notes the syllables, _do_, _re_, _mi_, etc., the Hindoos call their scale tones _sa_, _ri_, _ga_, _ma_, _pa_, _dha_, _ni_, _sa_, which are certainly as easy to vocalise upon as our _solfeggi_; in fact the language is very well adapted to music, as it has all the softness, elegance and clearness of the Italian. Von Dalberg says that Sanscrit unites the splendor of the Spanish, the strength of the German, and the singableness of the Italian. With the resemblance of seven chief tones, however, the similarity ends, for while our scale has only half tones as smallest interval, the Hindoos have quarter tones, and not equally distributed either; thus: whole small half whole whole small half tone whole tone tone tone whole tone Sa Ri Ga Ma Pa Dha Ni Sa ¼¼¼¼ ¼¼¼ ¼¼ ¼¼¼¼ ¼¼¼¼ ¼¼¼ ¼¼ In theory it will be seen that the octave is always a half tone flat, but practically they correct this by singing it on its proper pitch. On six of the above intervals they found their chief modes but they form various lesser modes on each interval, i. e., they could give ten different modes, or scales, starting from C alone. These six chief styles, are, of course, six Genii, corresponding to the six Hindoo divisions of the year, these are each married to five Nymphs, the thirty lesser styles; each Genii has eight sons, who are each wedded, also to Nymphs, one apiece. There seem to be few celibates in Hindoo Mythology, therefore an exact census gives to this interesting family six fathers, thirty mothers, forty-eight sons, forty-eight daughters-in-law, or one hundred thirty-two in all, each of them being the God or Goddess of some particular key, and each of them, of course, having a distinctive name; we shall not give the various names, but to illustrate the relationship among them, the following will suffice; the four 1-4 tones beginning on the fifth tone of the scale, _Panchama_ (or _Pa_) are the Nymphs _Malina_, _Chapala_, _Lola_ and _Serveretna_, while the next full tone (_Dha_) is owned by Santa and her sisters; if _Dha_ should be flatted 1-4 tone which would give it the same pitch as the highest 1-4 tone of _Pa_, (called Serveretna), the poetical Hindoo would not say “_Dha_ is flat,” but “_Serveretna_ has been introduced to the family of _Santa_ and her sisters.”[3]