Yesterday, I read somewhere, not for the first time, that somebody preferred Carnatic music to Hindustani music because Carnatic music has more variety. I’m not one to begrudge anyone their preferences, (although I do sometimes idealistically wish everyone would love both and have a “love marriage” like mine). The “lack of variety” in Hindustani music however, is an assessment that is not entirely correct. A lot depends on the ear and on how it has been trained to listen.

The two systems are similar yet different, more importantly, they are performed differently these days.

In a contemporary Carnatic concert one is usually offered a range of different forms, from Varnams, to Ragam Tanam Pallavis and hopefully javalis and padams. Many different ragams are performed. Many speeds of music are visited. Many texts are sung (but not always pronounced correctly).

“Hindustani” is a rather generic term, and covers a lot of different forms and styles. What most people associate with a Hindustani concert is usually a Khayal concert. What tends to happen in Khayal and Dhrupad concerts is that a raga is expanded in great depth. The variety therefore, is expected to come from within the raga. One can spend two hours on Yaman and still not be done.

Second, there are different forms and styles of Hindustani music. Khayal and Dhrupad are the two major forms. Numerous “lighter” forms exist such as Thumri, Kajri, Tappa etc. Now a Dhrupad singer does not usually specialise in Khayal and vice versa. And while a Khayal singer may include a Thumri in a concert, there have always been singers who specialise in Thumri-Dadra and sing nothing else.

Third, a variety of different forms exist in Hindustani music, but not everyone is singing them brilliantly. Also, access to these forms remains limited. I return to my old pet peeve, there is a lot more on the net in terms of quality Carnatic music…

In sum, the variety exists in the North, but differently.

Here is Malini Rajurkar singing a Tappa-Chaal Pehchaani. How a Tappa can be called a “lighter” form given its complexity I fail to see…but anyway.

Shruti: A Listener’s Guide To Hindustani Music
by Sandeep Bagchee

Related Posts:

• V is for Veena
• T is for Tanpura not Sitar; it’s Good to Know the Difference
• Introducing Yourself to Indian Classical Music 13-What’s your frequency? The Tanpura/Tambura and finding your Sur, Shruti or Pitch
• S is for Sitar and Surbahar
• The Harmonium as an Accompanying Instrument

Had been listening to and enjoying Shiv Vivah by Pandit Channulal Mishra (of the Kirana Gharana and of the beautifully hoarse sounding voice)-one must hear his Jai Shiv Shankar Aughar Dani in the Carnatic Raga Hamsadhwani- when a friend S, reminded me he had sung a nice Krishna album, which I hadn’t heard.

Here’s a beautiful one Nand Ghar Baje. from “Krishna”

The sore throat has gone, but I thought I’d post this anyway.

Updated to add: Here is Dipali’s post on Channulal Mishra. She describes his voice perfectly!

Related Posts:

• Indian classical music on the net
• A Question of Variety; Carnatic or Hindustani Music?
• What is a Raga (8)?: The Chalan (characteristic phrases) of a Raga
• What is a Raga (7): The Pakad or the “Grip” of a Raga
• Popular Ragas for the Beginner Ear~ Durga