https://www.youtube.com/watch?v=1Ek61jb2G7Q
Excellent and worth listening to Lec-Dem, which 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 it was that made everyone 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 we have deciphered the sarva laghu or lilting swaras distinctly from others and hence held MMIs music was great.
However, in a highly focused listening to certain minute aspects of MMIs' rendering, one could at least grasp certain nuances in flashes that provided the filigree work to his ornamental rendering.
To date, despite all the dissection and scientific analysis acoustically, there isn't any specific exact terminology for those nectars of nuances that have to be only enjoyed musically.
However, here, Prince Rama Varma elucidates musically very well, and this helps to listen to MMI with a renewed, technically better-based experience of his great singing.
Someone wanted further clarity, and I wrote this: Nectar of nuances beyond, besides, between, and beneath the well-defined and labeled Gammakams in Carnatic music. These nuances are what make a particular rendering of the same kriti with even the same sangathis and even if some copied / imitated kalpana swaras superior to another, like how Tirupathy laddu is superior and different from other laddus with the same ingredients.
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