^{page 719 note 1} None of the works on music mentioned is available nowadays. U San Win has seen Xaralekha in parabaik form and informed me that he would try to trace the whereabouts of the present owner in response to my suggestion that this valuable document should find its final resting-place in the University Library. In an article on the seven tones, , in , vol.i, No. 3, 1936, U Ba Cho mentioned two more works, Xāṭyaśāstra and Māghaṭīkā , of which only the former, a Sanskrit classic attributed to Bharata, is mentioned in the list of Sanskrit works on music in Fox Strangways' Music of Hindostan.

^{page 720 note 1} Music of Hindustan, pp. 106 et seq. It should be noted, however, that these terms, in spite of their Burmese annexation, apply, so far as Fox Strangways is concerned, to the music of Hindostan.

^{page 720 note 2} The italics are mine. This statement seems to apply to the Burmese scale of Hnyinlon C-c, which has puzzled me a long time because that class of songs Kyo, Bwè, Thachingan, which I am sure have F as their tonic, are said to be played in the C-c scale. These words made me feel less puzzled. However, there are more puzzles to come concerning the Burmese scale.

^{page 720 note 3} See comparative table of seven classical tones.

^{page 721 note 1} This agrees with U Ba Cho's table of the śrutis according to Māghaṭīkā.

^{page 723 note 1} De l'Origine des Échelles Musicales Javano-Balinaises: Conférence faite le 7 Janvier 1928 à l'lnstitut Colonial d'Amsterdam, in Journal of the Siam Society, vol. xxiii, part 2, pp. 115–16. Translated by G, .Google Scholar

^{page 724 note 1} Journal of the Royal Society of Arts, vol. lxxxvii, No. 4516. The Burmese Stage.Google Scholar

^{page 725 note 1} In U Nu's Sun Mag., July, 1939.

^{page 725 note 2} Although there are only thirteen strings, the intermediate notes are obtained by “stopping” the open strings with the tip of the fore-finger of the left hand.

^{page 725 note 3} University of Missouri Studies, vol. iv, 1929.Google Scholar

^{page 726 note 1} Chinese scale theories. Appendix 6 to The Musician's Arithmetic by Professor Meyer, Max in the University of Missouri Studies, vol. iv, 1929, pp 115–16.Google Scholar

^{page 726 note 2} Like the Burmese hnè, .

^{page 727 note 1} I am told that Burmese flute-makers do not use a pitch-pipe to tune the new flutes, but bore holes at distances found by folding a piece of string of the same length as the pipe over and over—to find equal distances. But this leaves unsolved the problems of the size of the holes. I give the measurements of the Burmese palwe for what they are worth. Table 3.

^{page 728 note 1} Strangways, Fox' Introduction to the Music of Hindostan.Google Scholar

^{page 729 note 1} Strangways, Fox in the introductory volume to the Oxford History of Music, chap. vii.Google Scholar

^{page 730 note 1} Formula: To find the interval in cents between, e.g., frequencies 423 and 385 3986.314 (log 423 – log 385)

^{page 730 note 2} Here, and elsewhere unless otherwise indicated by the context, the names of notes merely show their relative positions in the scale, and have no reference to absolute pitch. Thus F here = fah.

^{page 730 note 3} No wonder. Hla Tin has spoilt the plaintive part of the tune with a variation (see Example 7), the last beat of the third bar leading down to the tonic in the beginning of the bar following. These five notes are what makes the bawlè tune plaintive. They look very much like the first inversion of the chord of the relative minor with added seventh.

^{page 730 note 4} P. E. apparently here refers to Hla Tin's thumb-work. When playing the mandolin a Burman does not use the plectrum. Forefinger and thumb are employed, the latter to strike an occasional lower octave or the Fourth or the Fifth, or to help the forefinger along with the melody. The result perhaps often sounds like rough counterpoint. But the tune was certainly not in two parts. The division is of labour, not thematic.

^{page 734 note 1} It could not be. Bawlè is a very much later invention attributed to Hlaing- Hteik-Khaung-Tin (A.D. 1833–1875), an excellent summary of whose life, translated by Nyi Nyi from the excellent series of short biographies by Ma Ma Gyi, appeared in the World of Books, Nos. 136–7.

^{page 734 note 2} I would blame its maker. My pattala reveals just the opposite.

^{page 734 note 3} It is still there.

^{page 742 note 1} “The Greek mode beginning with E was supposed to have manly and vigorous qualities.”—R. T. White in Music and its Story.

^{page 742 note 2} “The Burmese Stage,” in the Journal of the Royal Society of Arts, vol. lxxxrii, No. 4516.

^{page 744 note 1} In Burmese music, more often a Fourth than a Fifth.

^{page 744 note 2} Music of Hindostan, chap. xii.

^{page 746 note 1} “A dancer's life (or dancing ?) begins with a tray of banana offerings (or pwè marked by a central fire-bowl stand of plantain-trunk ?) in a byaw music party”. Till A.D. 1698, when the eighth king of the Nyaungyan dynasty, Sane Min, came to the throne there existed only intoned poems but no real Burmese music. by U Nu, Sun Magazine, 1938.

^{page 747 note 1} U Ba Cho told me that this was not true. This class of songs used to be played as exercises in learning the Burmese harp, when the pupil begins to pluck simultaneously certain strings (kyo).

^{page 750 note 1} He is not dead in time like jazz players. He is in time because he feels in time There is much give and take in his conception of time. One thinks of Tempo Rubato but for its implications of virtuosity.

^{page 750 note 2} A Burmese novel by Thein Pe called Tet Phongyi describes the career of a choir-leader-cum-preaeher phongyi not meant to be Myawadi, I hope.