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that shree kan, then, is one of those rare gems of indian music, is plain from the first note, a sine qua non. its beauty, as i have already said, depends on its being given, as the sree kargutkar lyrics say, "to the finest musicians." but for the musicologist it has a subtler attraction, and it lies in its unusually beautiful melodic structure. a score for shree kan should be ready for the musician's day of judgment. it is a long-term investment.

shree kan represents a challenge to the western musician. an indian scholar named b. s. tyagi, who has lived in the west, teaches that the introduction of a new raga into the indian musical tradition is like the creation of a new literature. in shree kan, the aroha section is wholly in a minor mode and the avaroha has entirely different qualities. the aroha needs a jhala section, and the avaroha requires a gandhara. the jhala and the gandhara need to be sung with a different swara in the aroha section and a different one in the avaroha section. this process of development and evolution is unique to the shree kan. it requires musicians, who are experts in the musical tradition, to consciously learn a new raga, just as a poet creates a new poem. no musician of the west has yet mastered shree kan. but it is the place of the true scholar to study this raga as thoroughly as possible, in the traditional manner.

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