Hindustani and Carnatic raagas are often easily distinguishable. While Carnatic raagas use all kinds of gamaka (kampita, jaaru and flat notes without gamaka), Hindustani music has more of jaaru gamaka and flat notes. This difference in the nature of the raagas itself, however, has not prevented Carnatic musicians from adopting Hindustani raagas and viceversa.
Muttuswami Dikshitar, a revered name in Carnatic music, belonged to a family of glorious experimenters, whose creations thrive even to this day. His brother, Baluswami Dikshitar, brought violin to Carnatic music as a side-instrument (pakkavAdya). His father, Ramaswami Dikshitar, created Hamsadhvani, an extremely popular raga. Muttuswami Dikshitar's erudition in Sanskrit, Shrividya, Vedas, Astrology and many other branches of knowledge, resulted in some of the finest compositions in Carnatic music. 'akshayalinga vibho' of Shankaraabharana, 'maanasa guruguharUpam bhaja re' in Anandabhairavi, 'mInAkshi me mudam dEhi' of pUrvikalyANi and a few other kritis of his are my favorites. And I added a new favorite to my list just today. 'chetaH shrI bAlakrishnam bhaja re' is a very beautiful kriti by Dikshitar. It is set in Dvijaavanti, the Carnatic adaptation of the Hindustani raga Jaijaivanti.
When I heard the name 'jaijaivanti', I could not place it immediately. Then a google search told me that the song 'manmohana bade jhoothe' from the movie 'Seema', was set in the same raaga. (Is it coincidence that today is Krishnajanmaashtami, and all the songs I come across are related to Lord Krishna? Incidentally, 'manmohana...' is also one of my favorites.) It is a night raaga, born from the Khamaj thaat. The scale is (from http://www.surdhwani.com/mus_raga.html)
Sa Ri2 Ga2 R2 Sa Dha2 Ni2 Pa Ri2, Ga3 Ma Pa, Ni3 Sa
Sa Ni3 Dha2 Pa, Dha2 Ma, Ga3 Ri ga2 Ri2 Sa
The modern Dvijavanti is a direct derivative of the raaga jaijaivanti. However, Dvijavanti (named thus because of two 'jai's in the name) as conceived by Dikshitar, though said to be derived from Jaijaivanti, resembles not only jaijaivanti but also sahana in some places, and yadukulakaambhoji in some others. The result is a mellifluous melody which leaves one with longing for the divine child of Yashoda. (I could not find the scale for Dikshitar's Dvijavanti. Will post as soon as I find it.)
In the kriti 'chetaH shrI balakrishnam', Dikshitar has used the mood from all the three ragas in a masterly way. The first line of the charaNa, 'navanIta-gandhavAha-vadanam' (= one whose mouth smells of butter), the svaras are arranged in such a way as to remind one of cold breeze. Not a wind, not a tempest or a storm, but just pleasing, soft and cool breeze. In fact, this is the greatness of Dikshitar. The mood of his music always enriches the mood of the sahitya, and viceversa.
My salutations to Dikshitar and his Dvijavanti on the day of Gokulashtami.