A fundamental type within the Ṥabdālaṁkāra. Classical texts, or the Śāstra, dedicate significant space to the treatment of this specific melodic ornamentation. It manifests as a distinctive method of repeating a chosen note or a series of notes multiple times. The fundamental form presents the selected note with an oscillation linked to the grace note or, more precisely, the note that precedes or follows it.

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1. Gamaka Ascendants: S^R- R^G- G^M- M^P. After clearly expressing the note Sa, the grace note Re is added, followed by the expression of Re and the addition of the grace note Ga, continuing until the series is complete. The main notes should remain distinctly separate from each other, yet a subtle and nearly imperceptible gap should divide them, causing the grace note to conclude almost abruptly.

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2. Gamaka Descendants: R^S- G^R- M^G P^M. Similar to the previous one, with the key difference that the grace note precedes the main one. Here, the grace note swings toward the main note, which lingers slightly longer than the preceding and succeeding grace notes.

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These Gamakas are more easily learned in practice than in theory, with many being used in the Khaṇḍāra Vāṅī.

In classical texts or Śāstras, various Gamaka varieties are described, with fifteen varieties reported in the Saṁgītaratnākara:

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1. Tiripa: A pleasing vibration resembling a double percussion, with four notes in one beat (e.g., SSSS, RRRR, GGGG, MMMM).

2. Sfurita: Similar to Tiripa but with three notes in one beat (e.g., SSS, RRR, GGG, MMM).

3. Kampita: Similar to Tiripa but with two notes in one beat (e.g., SS, RR, GG, MM).

4. Līna: Similar to Tiripa but with one note in one beat (e.g., S, R, G, M).

5. Āndolita: Oscillatory motion expressed between two microtones of the same note, with a note in half a beat and a rest in the remaining half (e.g., S-, R-, G-, M-).

6. Bali: A mixture of fast, asymmetrical, and heterogeneous sounds (e.g., SSS, GGG, PP, RR, GGG, RS).

7. Tribhinna: Fast vibrations covering three octaves—low, middle, and high (e.g., ṚṚṚ, SSS, NNN, DDD, GGG, RRR, DDD, NN, ṠṠ).

8. Kurula: Similar to Bali Gamaka but with lightly inserted tied phrasings or 'knots' (e.g., SSS, GGG, RGRGR, GGG, MMM, DPDPM, GGG, RGRGRS).

9. Āhata: Described as the descending Gamaka R^S- G^R- M^G P^M, where the grace note precedes the main note.

10. Ullāsita: Similar to ascendant Gamaka S^R- R^G- G^M- M^P, with a clear expression of each note followed by the addition of the respective grace note.

11. Plāvita: An oscillation where each note lasts for three beats (e.g., S--, R--, G--, M--).

12. Gumfita: A pleasant and simultaneously dark and deep oscillation (e.g., GS_PmG, with the glissando or Mīḍ sustained and deep).

13. Mudrita: An oscillation produced through pursed-lipped humming.

14. Nāmita: A sequence of notes following a descending order (e.g., ṠN, ND, DP, etc.).

15. Miśrita: A mixture of some or all of the previously described varieties (e.g., SSS, GGG, RRR, MMM, DD, PP, RR, GG, N D P M G- R-- S---, etc.).