You can buy here the Alankar collection I have compiled. You will find over 12 thousand musical exercises inside.

In Indian music a composition, such as a Bandish, a Gat or a Tarana, has fixed melodic lines which are presented at the beginning and then kept as a reference theme. Musicians, while exhibiting one of these particular compositions, decorate it with various extemporaneous melodic and rhythmic phrases, adhering to the rules of the Raga and the Taal.Everything that the musician exposes beyond the composition can be defined as Alankar, since this decorates and enhances the beauty of that particular melody. The term alaṁkāra means ornament.We can say that the term Alankar is specifically defined as:"The technique of producing an ornamental sound, either vocally or through an instrument, called Śabdalaṁkāra, for example: Gamak, Āśa, Kṛntan, Mīḍ, Sparśa and many others which indicate the way in which the note is produced.Short melodic compositions called Kalā are used during a performance in a particular series called Varṇālaṁkāra, meaning Alankar composed of Varna or groups of notes. The Śāstras describe 63 varieties of Alankar. but these are almost indefinite.

(1) Prasannādi – S S Ṡ

(2) Prasannānta – Ṡ Ṡ S

(3) Prasannādyanta – S Ṡ S

(4) Prasannamadhya – Ṡ S Ṡ

(5) Kramarecita – SRS, SGMS, SPDNS

Each of these portions, separated by a comma, is called Kalā;the comma is to be understood as a very short pause to be rendered vocally or instrumentally

(6) Prastāra – SRṠ, SGMṠ, SPDNṠ

(7) Prasāda – ṠRS, ṠGMS, ṠPDN

(8)Vistīrṇa – S R G M P D N

(9) Niṣkarṣa

 (a) SS RR DD MM PP DD NN

Gātra Varṇa

(b) SSS RRR GGG MMM PPP DDD NNN

(c) SSSS RRRR DDDD MMMM PPPP DDDD NNNN

(10) Bindu – SSS R GGG M PPP D NNN

(11) Abhuccaya – S G P N

(12) Hasita – S RR GDD MMMM PPPPP DDDDDD NNNNNNN

(13) Preṅkhita – SR RG GM MP PD DN

(14) Ākṣipta – SG GP PN

(15) Sandhipracchādana – SRG GMP PDN

(16) Udgīta – SSS RG MMM PD

(17) Udvāhita or also Udvādita – S RRR G M PPP D

(18) Trivarṇa – SR GGG MP DDD

(19) Veṇī – SSS RRR GGG MMM PPP DDD

it is called Gātra Varṇa if the Kalā NNN is also added as in 9b.

From number (20) to number (31) they are like from number (8) to number (19) in downward movement.

For example

 (10)Bindu – NNN D PPP M GGG R SSS

(32) Mandrādi – SRG RMG GPM MDP PND

(33) Mandra Madhya – GSR MRG PGM DMP NPD

(34) Mandrānta – RGS GMR MPG PDM DNP

(35) Prastāra – SG RM GP MD PN

(36) Prasāda – SRS RGR GMG MPM PDP DND

(37) Vyavṛtta – SGRMS RMGPR GPMDG MDPNM

(38) Skalita – MDPN NPDM

(39) Parivartta – SGM RMP GPD MDN

(40) Ākṣepa – SRG RGM GMP MPD PDN

(41) Bindu – SSSRS RRRGR GGGMG MMMPM PPPDP DDDND

(42) Udvāhita – SRGR RGMG GMPM MPDP PDND

(43) Ūrmi – SMMMSM RPPPRP GDDDGD MNNNMN

(44) Sama – SRGM MGRS, RGMP PMGR, GMPD DPMG, MPDN NDPM

(45) Prekṅkha – SRRS RGGR GMMG MPPM PDDP DNND

(46) Niṣkujita – SRSGS RGRMR GMGPG MPMDM PDPNP

(47) Śyena – SP RD GN MṠ

(48) Krama – SR SRG SRGM, RG RGM RGMP, GM GMP GMPD, MP MPD MPDN

(49) Udghāṭita – SRPMGR, RGDPMG, GMNDPM

(50) Rañjita – SGRSGRS, RMGRMGR, GPMGPMG, MDPMDPM, PNDPNDP

(51) Sannivṛttapravṛtta – SPMGR RDPMG GNDPM

(52) Veṇu – SSRMG, RRGPM, GGMDP, MMPND

(53) Lalita Svara – SRMRS, RGPGR, GMDMG, MPNPM

(54) Huṁkāra – SRS, SRGRS, SRGMGRS, SRGMPMGRS, SRGMPDPMGRS, SRGMPDNDPMGRS

(55) Hlādamāna – SGRS, RMGR, GPMG, MDPM, PNDP

(56) Avalokita – SGMMRS, RMPPGR, GPDDMG, MDNNPM

Seven more extra Alaṁkāra

(57) Tāramandra Prasanna – SRGMPDNṠS

(58) Mandratāra Prasanna – SṠNDPMGRS

(59) Āvartaka – SS RR SS RS, RR GG RR GR, DD MM DD MG, MM PP MM PM, PP DD PP DP, DD NN DD ND

(60) Sampradāna – SS RR SS, RR GG RR, GG MM DD, MM PP MM, PP ,DD PP, DD NN DD

(61) Vidhūta – SGSG, RMRM GPGP MDMD PNPN

(62) Upalola – SRSRGRGR, RGRGMGMG, GMGMPMPM, MPMPDPDP, PDPDNDND

(63) Ullāsita – SSGSG, RRMRM, GGPGP, MMDMD, PPNPN.