Musical terms related to
ornamental melodic presentation

To make the raag rendering more beautiful and varied following ornamental patterns are used.

Alankar : Alankar literally means ornaments or adorations. Specific melodic presentation in succession in which a pattern is followed is called Alankar. For example : "SaReGa, ReGa Ma, GaMaPa, MaPaDha, PaDhaNi ". This phrase is a part of an alankar in which three notes in succession are used at each time.

Gamak: These are many ways of ornamenting the notes. In the ancient books fifteen types of gamaks are found. They are Kampita - shake, Andolita - swing, Aaghaat- strike, Valit - vipple, Tribhinna - threefold, Gumphita - threaded, Plavitaa - flowing, Mishrit - mixed, Kurula - spiral , Sphurita- pulsating, Tirip - flurry, Leen - absorbing, Mudrita - imprint, Ullhasit - happy, Naamita - obeisance.

Many of these gamaks are still in use in Karnatak music under different names. In the North Indian music of today vibrating the notes with force is now called Gamaka. This is an important technique in Dhrupad and often in Bada Khayal singing.. Many of the gamaks are used in Hindustani Classical music under different names and identities.

Kan or Sparsh Swar : The grace notes make the main notes sound sweeter. Grace notes are written slightly above the main note.

Murki : It's a short taan of three or four notes.It's sung very fast.

Khatkaa: Two or more notes sung with a jerk.

Meend : Stretching or lengthening the sound from one note to another. This technique maintains the continuity of the sound. Meend  brings a continuos flow, softness and continuity.

Introduction

Saptak (The Scale)

The Drone

Thaat

Today's form of Raag

The meaning of Alaap

The meaning of Taan

Raag Samay Chakra

Difference between Raag and Thaat

Ornamental Melody

Raag and Ras(Emotion)

Raag formation rules

Similarities and differences in Raags

Origin of Raag Names

The general Schema of raag Presentation

The Notation System

40 Principles of Indian Classical Music