Arabhi's distinct nature is a consequence of the nokkus given to the ni and the ga. In some combinations of swaras, e.g. pa ma, the pa is repeated softly with a touch of sphurita i.e. pa ma is rendered as pa pmma, as in nATTai. Stabilizing on one swara, a circular movement is produced using two or three swaras e.g. in rAgas like Ahiri, Asaveri, Punnagavarali etc. Thus we see that out of the ten gamakas listed, only kampita and its variety andolana refer to an oscillation of the swara per se. Other gamakas arise as a result of an emphasis or stress on a swara.
Hindustani music uses the other varieties to a larger or smaller extent compared to Carnatic music.