The slow, non-metrical alāp, devoid of a clear pulse, may be followed by movements called Jor (joining), in which there is a sense of pulse or beat (without a fixed metre or rhythm) at a medium tempo. The Jhala, which follows and is mainly associated with string instruments is always played at a fast speed, for it is repetition of the tonic note after every melodic note is played.  Lastly, the Gat, which is a previously composed theme, constantly heard, and interspersed between long improvisatory passages.  It is played against a fixed Tāla (or rhythm).  The alāp is played in free time without any rhythmic pulse.

In the alāp, the introductory slow movement to a rāga, special attention is given to particular notes (i.e. their order), the way they are used and the way in which emphasis is placed on the two important notes - the vādi and the samvādi.  The alāp is usually played against a constant drone, which is provided by the Tānpurā, an instrument specifically designed for this purpose.  

It is during the alāp that the main melodic features of the rāga, called pakad are explored.  The two important notes, vādi and samvādi are carefully stated and are constantly presented to the listener.  The mood or 'rasa' of the rāga is allowed to evolve through the execution of every note and the four 'varnas' or melodic movements are exploited to enhance the technique of the individual artist.