The only time one heard Dr M. Balamuralikrishna struggle to produce a note or two was when he deliberately imitated certain constricted throat modulations prevalent in Carnatic vocals. Such rasping passages, the master would observe in his talks on voice culture, had found a tacit respectability in the south Indian classical system over the decades. Bending that note further into humour, a music buff could wonder if the contorted faces typical of some bhagavatars on stage had anything to do with strained nerves around their neck. Or indeed, vice versa. Either way, Balamurali did not figure in that pool even in his very last phase.