“There’s so much division in music, like the world outside,” says guitar Prasanna

Over the course of a seven-day whirlwind tour, One Man, One Guitar, Many Worlds, ‘Guitar’ Prasanna visited Bengaluru, Chennai, Dubai, Abu Dhabi, Arunachal Pradesh and finally Kochi. From Tyagaraja and Dikshitar to jazz, blues, Illaiyaraaja, and songs from his own albums, Prasanna played them all on his guitar. After a rocking performance at the Ziro Festival, Prasanna presented a 180-minute Carnatic recital at the golden jubilee celebrations of Sree Poornathrayeesa Sangeetha Sabha, Tripunithura.

A pioneer in playing Carnatic music on the guitar, Prasanna’s journey is a masterclass in dedication and passion. Picking up the basics of guitar at a young age, Prasanna began playing professionally with rock bands in Chennai while still in school. After completing Naval Architecture from IIT Madras, he decided to relocate to the U.S. after he gained admission at Berklee College of Music. He went on to study Carnatic music, first from Tiruvarur S. Balasubramaniam, under whom he trained for six years, and later from the violin maestro A. Kanyakumari, under whose tutelage he was for over 25 years. 

Prasanna lent a distinct touch to his guitar strings and soon, he was into Carnatic music, heavy metal and Indian film music — all at the same time.

In between sound checks, before his concert in Kochi, Prasanna spoke about his journey thus far:

I see myself as a cultural connector, with music as the medium. My goal is to bring people together through music. There’s so much division in music, like the world outside.

When I decided to move to the U.S. to study at the Berklee College of Music, I faced new challenges. I was equipped with just the basics of music. Western classical music and other genres required formal study and rigorous discipline. The transition was not easy. There were over 1,000 guitar players there and you had to find a space. I had to master the intricacies of jazz and classical music, equip myself with the tools necessary to create my musical signature.

For me, now, it is not tough. The years of learning, playing and collaborating with great artistes have become my strength. The switch happens only when you think of it. And I try not to. Rather, I try to live with it.

 No. I consider this the responsibility of the artiste — to train them by performing well. The onus is completely on the musician.

Carnatic music has evolved through guru-sishya parampara. . It is different from the institutionalised system that is in place today. But Western classical or jazz has always been taught in institutions abroad. I feel it is necessary. I didn’t have a place like this in India to go to when I wanted a formal education in jazz, classical or contemporary music. We have some of the best institutions for other subjects, then why not for music?

This demystifying process must happen organically. I have always felt it is more of a bonding. My relation with my guru Kanyakumari, is like that. Recently, I was to perform in Dubai, I felt like calling her. She picked up the phone and I told her I want her blessings. We then talked for a while about music. ‘Hi! Prasanna,’ is how my students in the U.S. greet me and I don’t feel offended. People have, over the years, mystified this concept. I try to make it simple, clear.

You cannot be spoon-fed. When I started, it was basic guitar lessons and from there you had to take off. It was learning, shredding and learning. You need to persist. It was listening and imitating the sounds and human voice-like quality of Carnatic music. I began playing jazz while listening to saxophone players. This cross-learning is important. The student has to widen his scope beyond what the teacher teaches.

Vocal music is dependent on language. If we are talking about the aesthetics of sound, then, I feel instrumental music is the purest form. I believe music constitutes art, science and language. Art is a spontaneous exposition of a composition, the raga alapana or the improvisations. Science, is the process of writing the various parts of music. And often, we refer to language as grammar or syntax. But when the composed music is played on an instrument it is a non-verbal language — strong and impactful. That, then is the purest one too.

It’s natural to see a few raised eyebrows when a musician attempts something new or different from the traditional. Innovation should happen organically. It need not be radical.

My tour for 2026-27 is almost chalked out. Then I have two albums coming up — Blues for Saraswathy, which is purely Carnatic classical, and Here is the Cure, a mix of Carnatic and Western music.

Published – October 15, 2025 05:59 pm IST