Expressed in Western music theory terms, this is the process of arriving at a different scale by shifting to another mode in the key, i.e, modulation.
A simple practical demonstration of Graha Bhedam can be taken up by playing the structure of a rāgam with the drone set to Sa (Shadjamam).
When Graha bhedam is applied on Shankarabharanam's notes, it yields 5 other major Melakarta rāgams, namely, Kalyani, Hanumatodi, Natabhairavi, Kharaharapriya and Harikambhoji.
Example scenarios are missing Panchamam (Pa) or two of particular note (Rishabham (Ri), Gandharam (Ga), Madhyamam (Ma), Dhaivatam (Da) or Nishadam (Ni)).
Hence, such modal shift of tonic note is valid on all swaras, but may not have been chosen as a rāgam, experimented with, elaborated and composed with.
Hence they lead to theoretical rāgams, which have not yet been discovered (all combinations of notes exist, but one may never have been used or exposed to the world at large).
Mohanam rāgam and its graha bhedam derivatives are one of the key scales in use all over the world, especially East and South Asia.
Notes on above table Shivaranjani rāgam and its Graha Bhedam derivatives are Revati and Sunadavinodini.