Another point to note is that kalyANi is the lone pRathi madhyama: all the other rAgas are shuddha madhyama. This is in concordance with the smaller number of pRathi madhyama rAgas that are in vogue.
Among the Trinity, contributions to kharaharapRiya have come in only from Saint Tyagaraja - it remains a mystery as to why the others didn't compose any kRitis in this rAga.
Most of the kRitis in these ragas are viLamba kAla (slow-tempo or medium-tempo) with long-drawn phrases, although there are a few racy numbers as well. This suggests the importance of gamakAs in these rAgas.
Due to the sampooRNa (having all swaras) nature and also being samvAdi, these rAgas offer immense scope for improvisation - in particular, rAga AlApana can technically last for a long duration without the phrases getting redundant or repetitive. Stalwarts are known to have sung AlAps for hours; exploring new realms of creativity each time.