i. Both share a common origin and have the same seven basic notes and solfas in a 12-tone system.
ii. Both share common concepts like raga, tala, swara and so forth.
iii. Both share several common ragas and talas, sometimes with different names.
iv. Both place ample importance on creativity, with similarities in their approach to melodic expansion (alapana), and melo-rhythmic features like neraval and kalpana swaras.
v. Both employ a few similar instruments like veena and rudraveena, chitravina and vichitraveena, mrdangam and pakhawaj. Both make abundant use of the tanpura.
vi. Both give pride of place to vocal music.
vii. Both are highly popular systems figuring in major global events, festivals and conferences, because each has produced outstanding artistes of international calibre.
DIFFERENCES
i. Hindustani music has emerged as a separate system due to heavy Persian influence. It is in reality more an Indo-Persian system of music, whereas Carnatic music has been comparatively less influenced by parallel cultures (as South India remained relatively unaffected by the Mughal impact). Though Carnatic musicians and composers like Muttuswami Dikshitar and Tyagaraja did venture into other territories, including Hindustani and Western systems, in most instances, they have Carnaticised the imported aspects. Thus, one can see Dikshitar composing ‘English notes’ with Sanskrit lyrics, or Carnatic artistes rendering borrowed ragas like Dwijavanri or Behag with typical Carnatic graces.
ii. Several types of ornamentations used in Hindustani such as the meend (glide) and gamak (a very typical swing to each note in a given phrase) are distinct from Carnatic.
iii. The stress in Hindustani music is more on creativity (though compositions are also rendered occasionally), while Carnatic music maintains equilibrium between composition and improvisation. Normally, more compositions are heard in a Carnatic concert.
iv. The average speed (number of notes rendered per minute) of Carnatic music is generally higher than that of Hindustani music. A listener will also find that, in Carnatic music, the slow and fasr phrases are rendered in contrasting combinations, with more movement across various octaves. In Hindustani, the development normally commences from the lower octaves in slow tempo and gradually moves on to the higher octaves and speeds.
v. The melodic accompanists play a major role in Carnatic concerts. Their participation in the accompaniment is significant not merely during the compositions but also for the improvisation.