Are raagams *fixed* ideas that get approached by songs or are they *flexible* that they *bend* to accommodate the vagaries of the song? ( This thought was inspired by listening to a very meditative Ramanatham Bhajeham in Panthuvarali sung by KVN. He seemed to be focussing more on the aesthetics of the song structure than the grammatical structure of Panthuvarali itself. Was Panthuvarali alright but very much a Panthuvarali informed by Ramanatham Bhajeham. Hard to describe in words the actual musical effect. The “linearity” of Panthuvarali as the 51st melakarta raagam was somehow gone but it was totally Panthuvarali alright without violating the “grammar” of Panthuvarali. Seems to lend more credence to the after the fact imposition of the Melakarta system.) How much is a raagam characterized by the *stretch* of the sangathis ( this inspired by the Surutti that followed the Panthuvarali. The master presents a leisurely Githarthamu.)