How about "complimentarity" ?vasanthakokilam wrote:If the word illusion is not the correct word, we can use another word.
I haven't listened to SK's lecdem above yet, but I know the extremely simple idiot's way for a performer to do shrutibhedams of any degree of complexity, and I have no doubt that's how they all do it and fool the public that they are doing something profound. Everyone can do it. Here's how:
1. Choose some rAga.
2. Determine a priori the grahabhedams you're going to do with it. This is extremely important to understand. Nothing happens "on the fly"! Say for simplicity we'll sing Todi, go into Kalyani and come back.
3. Now sing Todi for a while, get immersed in the rAga
4. Bring the Todi to a dramatic peak at the mel Ri, giving that swaram a nice kaarvai. Have a clear perception of that swaram.
5. Now clearly think of that Ri as your Sa and filtering out any awareness of the tambura and abandoning any notion of Todi, launch into a Kalyani using sancharas that emphasize full-scale movement such as SNDPMGR.
6. Keep thing going for a while and then reverse the process, i.e., stop at the Ri and bring back the original Sa dramatically.
Except in the simple cases like Mohanam-Hindolam there's no awareness in the performer's head of the "parent" rAga when the child Raga is being sung. So the shrutibhedam is the only thing happening, not grahabhedam. The "graha" part of the grahabhedam is determined analytically prior to the peformance.
