Comparison of Carnatic & Hindustani Ragas

It is believed that the stream of music started flowing down from Lord Shivas head along with Ganga to enrich Indias culture & proclaim the glory of Bhakthi, Truth & Peace. Till about 13th century A.D. we find that there was no classification in Indian Classical Music. But today we find that two different stems have sprung up from the same root, namely Carnataka & Hindusani Music. Hindustani Music came into existence with the advent of Muslim invasion in India. Many professional singers from Persia, Arabia, Turkey & Afghanistan were made Asthana Vidwans of Moghul Durbar. A high-class mixture of Persian & Indian music came into vogue in North India which came to be known as Hindustani Music. While the Southern system could fortunately retain its original form because the Muhammadan rulers did not tamper with Southern culture & Traditions (so it got the name Carnataka Sangeetha which by itself means ancient or Traditional Music). Both the systems have their own grandeur, charm & aesthetic appeal in their approach. A comparison of a few Carnataka & Hindustani ragas would be interesting & informative: Some major ragas are common to both systems though called by different names. For example, Carnataka Kalyani is handled as Yaman in Hindustani Carnataka Thodi as Bhairavi in Hindustani Mohanam as Bhoopali Hindolam as Malkauns Sankarabharanam as Bilawal etc., Subha Pantuvarali as Thodi Chakravakam as Ahir Bhairav Devagandari as Bhimplasi Madhyamavathi as Brindavan Saarang Saaranga as Hamir Suddha Saveri as Durga Nata Bhairavi as Asavari Sahaana as JeyJeyvanti Dharmavathi as Madhuvanthi Hamsanandhi as Marwa Pantuvarali as Purvi Mayamalavagowlai as Bhairav Harikamboji as Khamaaj Karaharapriya as Kafi Gambeera Nata as Tillang Valaji as Kalavathi Mukhaari as Jonpuri

Though the Arohana & Avarohana in the case of these ragas are almost same, the prayogas, production, style, gamakas and the very presentation will differ from each other. There are few ragas having same names in both systems & yet there will be no resemblance or similarity to one another. For instance, there is Thodi in Carnataka as well as Hindustani having no resemblance between them. Hindustani Thodi is the equivalent of Carnataka Subha Pantuvarali & there is Bhairavi in both systems which have no common features. Carnataka Thodi & Hindustani Bhairavi are similar & we have Lalith in Hindustani & Lalitha in Carnataka having no similarity. There are a few ragas which are exclusive to the two styles. We do not find exact

equivalents for Carnataka ragas Bhairavi, Varali, Surutti, Begada, Dhanyasi, Atana, Nayaki, Nattakurinji, Gowlai etc., & similarly we do not find Carnataka equivalents for ragas like Miyan ki Malhar, Pagadi, Gaud Sarang, Chaya nat, Sankara,Maru Sihag, Ramkali, Tilak Kamod, etc. Many Hindustani ragas are being handled with efficiency by Carnataka composers & musicians. Muthuswamy Dikshithar, one of the Carnataka trinity Composers has composed few kirtanas inspired by North Indian Music during his visit to the North.eg., Rangapuravihara & Sowndararajam in Brindavana Saranga, Akhilandeswari & Cheta Sri in Dwijavanthi, Jambu Pathe in Yaman Kalyani etc., Veteran Composer Muthiah Bhagavathar brought into Carnataka Music ragas like Hamsanandi(equivalent of Marwa),valaji(Hindustani Kalavathi) etc. Present-day Carnataka Musicians handle with confidence many Hindustani ragas like Madhuvanti, Desh, Behag, Bageshri, Pagaadi, Basanth, Pilu, Tilang etc. A few Carnataka ragas like Hamsadhwani, Abhogi etc., are included by Hindustani Musicians. It should be considered a welcome factor if pleasing ragas are adopted by both musicians without any biased views or orthodox feelings & at the same time not losing the individual styles.