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Meend is an important part of any classical performance; however, it is a technique not possible on a hand-held harmonium often used in musical concerts (or on the santoor). For this reason, traditionalists singing khyal prefer an accompaniment on an instrument such as a sarangi that can perform meend. [2]
A specialized technique called "meend" involves pulling the main melody string down over the bottom portion of the sitar's curved frets, with which the sitarist can achieve a seven-semitone range of microtonal notes (however, because of the sitar's movable frets, sometimes a fret may be set to a microtone already, and no bending would be required).
meend, a technique of singing notes in a fluid manner with one note merging into the next - there are many different kinds of meend; kan-swar, grace notes - the use of grace-notes depends on the raga being performed; andolan, a gentle swing on specific notes, used selectively; gamaka, a heavy to-and-fro oscillation involving two or three ...
It is known for a deep, weighty, introspective sound, in contrast with the sweet, overtone-rich texture of the sitar, with sympathetic strings that give it a resonant, reverberant quality. A fretless instrument, it can produce the continuous slides between notes known as meend , which are important in Indian music. [2]
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Gamaka is any graceful turn, curve or cornering touch given to a single note or a group of notes, which adds emphasis to each raga's individuality. [3] Gamaka can be understood as any movement done on a note or in between two notes.