Arun, I assume the 'You' is a generic you since I am on the same wavelength as you to mean 'melodic contours/entities need not be strictly determined by the aro/ava. Well said!!You can do g (s)n` /s
where the (s)n` is like a nokku on ni from sa. Note that to say this is a violation would imply you are
1. Taking swaras to be flat notes
2. You are saying that aro/avaro determines the pitch contours of the melodic framework behind the raga.
Both IMO are counter to what CM is about and so using it to define a CM melodic entity would shall we say oxymoronic
I am having fun at your thoughts about the lack of swaras because I am going through the same struggle here.. Creating melody with such restrictions is challenging in the sense it exposes so many things like what you said about it sounding western.
I am also trying to mess around around within the aesthetic considerations like what Arasi said about 'pa' gamakam and what you and Suji said about 'G'.
One thing I learnt is, which is probably obvious in retrospect, the song gets its form mostly with proper use of karvai and repeated notes without making it look repetitive. There are so many such rhythmic tools composers have used both in classical as well as raga based lighter variety. The melodic hooks and prayogas need not be used in abundance. The same prayoga has the elasticity to be stretched, moulded, re-formed and recast just with changes in rhythm and give quite a different feel. This seems to be even more true when words are used since they take their fair share of making the music wholesome even if the rhythm and melody are essentially the same in many places.