The Four Varnas are:  

Ārohana (ascending)  
Avrohana (descending)  
Sanchari (wandering)  
Sthāyi (stable)  

In a concert of rāga music, the section immediately following the alāp (or prelude) is the Jor.  In the Jor the melodic and catch phrases which are called pakad are extended upon, making these fragmented themes which were heard in the alāp, longer and more interesting.  There is also a slight increase in tempo, and a sense of rhythm is introduced into the melodic line.  Although the jor has a basic rhythmic pulse, it does not have the regular rhythmic cycle of a tāla.

The third section of the rāga composition is the Jhala.  The jhala is fundamentally a technique associated mainly with the stringed instruments of India. Jhala is played in fast tempo, building up to a super-fast speed. In instrumental jhala, the left hand plays a slow melody while the right hand creates complex rhythmic patterns on the main and drone strings, in a spectacular display of speed and virtuosity.