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THE SANSKRIT MANUSCRIPTS. 3 The following is a scheme of Vedic accents which deserves the attention of foreign readers for understanding the general principles of the Vedic svaras in the light of music:- $ Udatta, and Pracaya, i.c., Anudatta following Svarita. 1}.. not marked. - Amudatta preceding the Udatta and }.. marked as - Svarita. Svarita 6 do. There are three Svaras or accents in the Vedas; the Udatta, acute,' the Anudatta, grave,' and the Svarita, toned.' When more than one Anudatta precede an Udatta, all but the last are often sounded lower. The 1 st Anudatta following an Udatta becomes Svarita; and all the rest are sounded like the Udatta and called Pracayas. If we compare the above accents with the tones of a musical gamut, we can know the exact sounds of those accents. Let the Udatta bo represented by any key on the piano and be marked as C, and sa according to the Hindu method; then the two sounds of the Anudatta will be marked as B and 17 ni, and G and pa, respectively. The Svarita will be sounded as C sharp and fri.² The Pracaya svara, as it is pronounced by the Brahmans of the Taittiriya Sakha and the Rgveda, is identical with the Udatta, and therefore is equal to C and H sa. A long Scarita in the Rgveda is split into two long sounds-the first of which is sounded as Udatta and the second, as Svarita. nissa sa ri sa ni sa ri sa ni sa rino sa agni mi - le rohitam ya啷抝nasyedeva 鈥� It is called suddha ysabha by the Hindus.