The Meend in its most basic form can range from a simple span of 2 notes to a whole octave. These are straightforward, smooth and uni-directional. The basic Meend is generally very slow paced and usually rendered in the first part of the alaap – vistaar. As the pace gradually picks up, the Meends also gain in tempo and progress to more complex structures (as defined in the remaining Types of Meend).
A second type of Meend employs a slight pause on one or more intermediate notes within the Basic Meend. The duration of the rest may vary from one raga to another.
Meends can be ascending, descending or a combination of both. The third type sometimes has an undulating or wave-like effect and may be referred to as the Undulating Meend.
Ghaseet is a technique of plucking a note and then, within the resonance generated, gliding the other hand along the string over the frets (on the sitar) and along the steel plate (in the case of the sarode). A Ghaseet is fast paced and differs only in speed from other alankars in the Meend category. Ghaseets are often played in jod ang.
Just as the ghaseet relates to instrumental music, the Soonth is a fast paced (basic) meend employed by vocalists. This usually comes into play in the latter part of the alaap-vistaar, after the pace picks up.
Any Meend can be sung by the vocalist in aakars, bols of the bandish or in Sargams.
It is often said that pure unadulterated meends are best sung by dhrupadiyas because khayaliyas sometimes succumb to their creative urge and employ other alankars in the slow preliminary alaap portions of a recital. Undoubtedly a meend is the strongest weapon in the dhrupadiya’s armoury.