1. Flexibility:
Unlike the Carnatic system, the Hindustani system is more elastic and flexible and comparatively free from inhibitions and restrictions.
There are several ‘gharanas’ each one handling the same ragas differently. Moreover, several ragas have arisen from a single root with noticeable differences.
Image Source: upload.wikimedia.org
ADVERTISEMENTS:
2. Sweeps and Glides:
Hindustani system has its broad sweeps and glides while, in the Carnatic system its almost coiled technique.
3. Time Theory:
ADVERTISEMENTS:
Hindustani music is based on Time Theory (ragas suited to particular time or season).
In Carnatic music, though there are indications in this regard, in concerts this regour is not strictly adhered to.
4. Derivative Ragas:
Like derivative ragas (Tanya ragas) in Carnatic music there are the Raginis in the Hindustani music which however sport the female gender.
ADVERTISEMENTS:
4. The Rhythmic Cycles:
Talas are simple arithmetic there cannot be any difference in the manner of their operation.
But while in Hindustani music the transit from the Vilambit (slow tempo) to the Dhrut (fast tempo) is without any strict sense of temporal proportion, in Carnatic music the duration values are definite (the Dhrut is double the Madhya which in turn is twice the vilambit).
5. Instrumental Music:
The basically vocal nature of the Indian instrumental music is more pronounced in Carnatic music where the artists reproduce only the works of great masters on instruments.
The element of licence and improvization occur in the Alap. But there is a slight difference. Hindustani music instrumental scores do not rely on musical compositions with lyrics alone.