Nectar of nuances beyond, besides, between and beneath the well defined and labelled Gammakams in Carnatic music

https://www.youtube.com/watch?v=1Ek61jb2G7Q

Excellent and worth listening to Lec-Dem that reveals one more taste of the nectar of nuances in classical carnatic music.

Why I have spontaneously liked MMI, as do many others and did not have a clear clue as to what was it that made everyone to like him despite the poor acoustics of those days.

It took me a few years into learning music to notice that MMI had something extra, which was ascribed to mere Sarvalaghu swara rendering.

As youngsters our frames of reference to perceive are often restricted by such labels/terminologies, which we parrot around, presuming as if that we have deciphered the sarva laghu or lilting swaras  distinctively from others and hence held MMIs music was great.

However, in a highly focussed listening to certain minute aspects of MMIs rendering one could at least grasp certain nuances in flashes which provided the filigree work to his ornamental rendering. 

Till date, despite all the dissection and scientific analysis acoustically, there isn't any specific exact terminology for those nectars of nuances which have to be only enjoyed musically. 

However, here, Prince Rama Varma elucidates musically very well and this helps to listen to MMI with renewed technically-better  based experiencing of his great singing. 

Someone wanted further clarity and I wrote this :- Nectar of nuances beyond, besides, between and beneath the well defined and labelled Gammakams in Carnatic music. These nuances are what makes a particular rendering of the same kriti with even the same sangathis and even if some copied /immitated kalpana swaras superior to another like how Tirupathy laddu is superior and different from other laddus with same ingredients .