follows the pitches of Khamaj thaat, the Indian equivalent of Mixolydian mode. Written and performed in the tonic key of C (but subsequently sped up to C on the official recording), it features what musicologist Dominic Pedler terms an "exotic" melody over a constant C-G "root-fifth" drone, which is neither major nor minor in mode. Based on a piece that Shankar had written for All India Radio, the structure of the composition adheres to the Hindustani musical tradition and demonstrates Harrison's advances in the Indian classical genre since "Love You To". Following a brief alap, which serves to introduce the song's main musical themes, "Within You Without You" comprises three distinct sections: two verses and a chorus; an extended instrumental passage; and a final verse and chorus. The alap consists of tambura drone, over which the main melody is outlined on dilruba, a bow-played string instrument that Boyd began learning in India. Throughout the vocal section of the song – the gat, in traditional Indian terms – the rhythm is a 16-beat tintal in madhya laya (medium tempo). The vocal line is supported throughout by dilruba, in the manner of a sarangi echoing the melody in a khyal piece. The first three words of each verse ("We were talking") have a tritone interval (E to B), which, in Pedler's view, enhances the spiritual dissonance that Harrison expresses in his lyrics. Over the instrumental passage, the tabla rhythm switches to a 10-beat jhaptal cycle. A musical dialogue ensues in time, first between the dilruba and sitar, then between a Western string section and sitar. The interplay between these instruments follows the call-and-response tradition of Indian classical music, known as jawab-sawal. The passage resolves in melodic unison as the instruments together state a rhythmic cadence, or tihai, to close the middle segment. After this, the drone is again prominent as the rhythm returns to 16-beat tintal for the final verse and chorus. On the finished recording, the tonal and spiritual tension is relieved by the inclusion of muted canned laughter. In his book Indian Music and the West, Gerry Farrell writes of "Within You Without You": "The overall effect is of several disparate strands of Indian music being woven together to create a new form. It is a quintessential fusion of pop and Indian music." Peter Lavezzoli, author of The Dawn of Indian Music in the West, describes the song as "a