Seminar at Just Love Festival 2023

1. INDIAN CLASSICAL MUSIC
SPICES FOR THE WORLD
OF MUSIC
Shreevats
Iyer

2. EXPLORING THE ORIGINS
Carnatic Classical Music
 Roots from Natya Shastra by Bharata Muni around 200BC
 Traced in South India
 Bhakti Movement played crucial role for development of this style
 18th Century Saints are the Trinity of Carnatic music who
contributed to the systematization and popularization of the
nomenclature:
1. Tyagaraja Bhagavathar
2. Muthuswami Dikshitar
3. Syama Sastri

3. EXPLORING THE ORIGINS
Hindustani Classical Music
 Roots from the Vedic hymns and chants from 1500BC
 Traced in North Indian sub continent
 Persian & Islamic influences post 12th Century
 Bhakti movement influenced the development of ragas and talas
 18th Century gave rise to the Gharana tradition that are prominent
lineages with distinct style, repertoire & techniques viz. Gwalior,
Agra, Jaipur, Kirana, Patiala, etc.
 Amir Khusro from 13th Century is considered the ”Father of
Hindustani music”
 Tansen from 16th Century and his discilples like Swami Haridas &
Baiju Bawra play crucial role in carrying forward this legacy

4. FOUNDATION NOTES OR
SWARAS
Western Music notes – Interval names
ROOT/First note
Minor 2nd
Major 2nd
Minor 3rd
Major 3rd
Perfect 4th
Sharp 4th/Flat 5th/Tritone
FIFTH
Minor 6th
Major 6th
Minor 7th
Major 7th

7. RAGA - SCALE
Carnatic Music has 72 Melakarta or Root Ragas
Devised by Vidwan Venkatamakhin in 1640
It uses over 700 Janya or derived ragas from the root ragas that has
distinct characteristics and personality
Hindustani Music has 10 prominent Thaats or Root ragas
Devised by Vishnu Narayan Bhatkhande in the late 19th century from
the 32 Thaats that existed in the different Gharanas
Today, Hindustani Music uses over 200 ragas offering unique palette
of emotions

9. Ionion - Bilawal
Mixolydian – Khamaj
Dorian – Kafee
Aeolina – Asawari
Lydian – Kalyan
Phrygian – Bhairavi
Locrian –
Sohni(Hindustani)
Hamsanandi

10. TALA – TIME SIGNATURE
 A Cycle or Avartanam in Carnatic Music can be made of different Aksharas
or Beats:
1. 3 beats – Tishram Jati ( Ta Ki Ta )
2. 4 beats – Chatushram Jati ( Ta Ka Di Mi )
3. 5 beats – Gandam Jati ( Ta Ka Ta Ki Ta )
4. 7 beats – Mishram Jati ( Ta Ki Ta Ta Ka Di Mi )
5. 9 beats – Sangeeranam Jati ( Ta Ka Di Mi Ta Ka Ta Ki Ta)
 “Sam” or Tali (Clap) or Khali (wave) is denoted to understand one Cycle or
Avartan in Hindustani Music:
1. Tin Taal – 16 beats (4+4+4+4)
2. Jhoomra – 14 beats (3+4+3+4)
3. Dhamar – 14 beats (5+2+3+4) Also Deepchandi
4. Ek Taal – 12 beats (2+2+2+2+2+2)
5. Jhap Taal – 10 beats (2+3+2+3)
6. Keherwa – 8 beats (4+4)
7. Rupak Taal – 7 beats (3+2+2)
8. Dadra Taal – 6 beats (3+3)

11. INSTRUMENTS - VADYAM
Carnatic Instruments –
Veena Violin Mridangam Ghatam Flute Kanjira
Hindustani Instruments –
Sitar Sarod Tabla Harmonium Bansuri
Santoor

12. COMPOSITIONS
CARNATIC MUSIC
Ragam – Tanam – Pallavi
Kriti
Geetham, Varanam, Kirtanai, etc.
HINDUSTANI MUSIC
Alap – Jor – Jhala
Bandish
Khayal, Tumri, Ghazal, Dhrupad-Damar, etc.

13. MANODHARMA & BHAVA
Both styles uses Improvisation techniques of MANODHARMA or the art of
spontaneous creativity using self intelligence or intuition.
- Carnatic Manodharma uses Niraval and SwaraKalpana
- Hindustani Manodharma uses Taans and Sargam
Both traditions evoke deep emotions and devotion through spiritual themes,
love and longing for the divine
Both traditions have and still follow the strong roots of Guru – Shishya
Parampara
Both Carnatic & Hindustani Music are beyond just musical genres, they are
embodiments of India’s rich cultural heritage with spiritual depth that
continue to captivate and inspire global music lovers

14. QUESTIONS?
Thank you for your
attention!