The order in which the notes of the raga are introduced, and the manner in which the raga itself is revealed and unfolded are all extremely important. So, also, are matters of ornamentation, pitch alteration, and melodic structure. Historiclly speaking, one actually finds a close correlation between the concept of raga and the early western western church modes. Although notational systems exist, the tradition is largely an oral one, passed on by each master to students. This is a slow introduction where the performer contemplates the raga note by note, composing phrases, at first quite simply, with the two or three notes nearest the tonic, but gradually becoming more and more complex as he extends through the first octave and then later, over the whole range of the instrument.
Much use is made of microtonal inflections, ornamentation and glissando.
The artist, through his use of these means of expression, reveals his understanding of and sensitivity to the raga he is playing. A truly creative musician is always trying to draw out of a raga some hitherto unseen facet, by way of his improvisation. When the artist feels that he has completed his exposition of the raga through the alap he introduces a rhythmic pulse in to the music, starting again by playing short phrases against his regular striking of the drone strings. After several stages of increasing the tempo, the performer can either finish this section or go on to one final movement. Actually, it is usual for this whole movement to consist of two gats, one slow and one fast.