ABSTRACT
Nadai bhedam is a technique that embodies the concept of polypulse par excellence, as opposed to the concept of using vertically two different gatis with the same jathi that constitutes an illusion' of polypulse since the gati goes with the laya. The 'double bracket' notation is needed to convey the concept and use of nadai bhedam if the original gati/jathi combination is to be traced back and the nadai perceived as a gati in a different tempo. Although karnatic musicians study misra gati as a base for a nadai bhedam frame, it is seldom performed for two reasons: any number combination produced with misra gati already exists if tisra, chatusra or khanda gatis are chosen; having seven accents restricts the phrasing possibilities quite drastically. One of the few contexts where a nadai bhedam frame would happen just once is as a fourth possibility within the 3-fold mukthays concept.
