Indian Music is a typical example of 'Modal' music - based on ragas or modes. 'Raga' is the fundamental concept of both Hindustani and Carnatic Music. In the improvisatory aspect, (manodharma sangeetam or creative music), Indian music offers an exciting possibility of exploration and discovery.

It is a well recognised fact that the human ear can easily decipher the intervals between the twelve Swarasthanas of the sapta swaras. These sapta swaras, or seven notes are the building blocks on which all musics of the world - be it Western classical, Jazz, Chinese, Indonesian or Indian - construct their edifices. As these seven notes are the 'vocabulary' of music, do, re, mi in western music, sa re ga ma in Indian music - the language is simple, comprehensible to everyone, regardless of nationality and creed.

Therein lies the unique universality of music - a Westerner finds fulfillment in listening to the melodic unfolding of Indian ragas and an Indian enjoys the grandeur of harmonics in a Beethoven symphony. Hindustani Music & Carnatic Music are siblings who share a lot of impulses and ideas in common. The styles run parallel despite some differences in approach.

Sandhya Kathavate and I have been good friends in Bombay, where I grew up, and we both shared a common passion for music. Our thoughts and casual discussions culminated in the feeling that we could have a joint musical presentation or 'jugal bandi' and we have been presenting these concerts as also lecture demonstrations and workshops since the last two years.

Interacting with her has opened my eyes to the aesthetics of both systems of music, with their similarities and differences. Fortunately, we could arrive at a common pitch to sing and that reinforced the spirit of give and take and the possibilities of shared musical ideas so essential in a jugal bandi.

As regards the origin of Indian music, it is well known that both Carnatic Music and Hindustani Music originated from the Samaveda. Due to certain social and political reasons, Hindustani music moved towards the court and the king's 'darbar', whereas Carnatic music retained its devotional flavour. This may explain why Carnatic compositions are bhakti oriented and Hindustani bandishes are predominantly shringara - based.

There is a difference in the handling of the gamakas or oscillations in both the systems. In Hindustani music, the oscillation of the swara is from the higher note whereas in Carnatic music the oscillation is from the lower note. The use of ']aru' and the gliding note is predominant in Hindustani music.

The twists and turns or 'Paltas' are different in these systems. It is not possible to find absolute equivalents in Hindustani Music for rakti ragas like Yadukulakambodi, Saveri and Dhanyasi but certain modes like Yaman, Malkauns and Ahirbhairav find their counterparts in Kalyani, Hindolam and Chakravakam respectively. Hindustani musicians have borrowed Carnatic ragas like Hamsadhwani, Charukesi and Abhogi and composed bandishes in them; Carnatic musicians have adopted Hindustani ragas like Dwijavanti, Behag & Hamir Kalyani. It is said that Muthuswamy Dikshitar, during his visit to the North, learnt and assimilated various Hindustani ragas. We find that he has used many Hindustani ragas in his compositions.

Sandhya and I find a lot of challenge and adventure in the alternate singing of alap in the same raga (manodharma aspect) as also singing alternately, Carnatic and Hindustani compositions which have the same Tala or rhythmic structure. The pallavi of the kriti in Carnatic music corresponds to the asthayi of the khayal in Hindustani music, the antara corresponds to the sanupallavi.

We have learnt compositions from each other - for example - Sandhya sings Tamil songs with relish, just as I enjoy singing abhangs and bhajans. We sing these compositions jointly to emphasize the healthy spirit of jugal bandi. And as music is an internationally comprehensible language which has the power to soothe and heal, we hope our musical endeavour will spread the message of joy and peace in a small way to our listeners.