The concluding segment of the Alapa unfolds at a relatively brisk pace, employing a specific type of Ṥabdālaṁkāra, known as Jhala. In stringed instruments such as Sitar, Surbahar, Sarod, and Rudra Vina (Veena), there is a continuous stimulation of the Cikārī, aimed at generating a rhythmic drone that alternates with a melody created on the main strings.

The presentation of the melodic motif is gradual, even though the rhythm intensifies during this phase. The rhythmic possibilities are myriad, constituting a fundamental aspect of instrumental expression.

The rhythm can be structured as follows:

- 4+4 = Da c c c Da c c c
- 3+3+2 = Da c c Da c c Da c
- 3+2+3 = Da c c Da c Da c c
- 2+3+3 = Da c Da c c Da c c
- 3+3+3+3+4 = Da c c Da c c Da c c Da c c Da c c c
- 2+3+2+3+3+3 = Da c Da c c Da c Da c c Da c c Da c c
- 3+3+4+3+3 = Da c c Da c c Da c c c Da c c Da c c

Layakari, rhythmic variations, can also be expressed by playing with the regular beat of four:

- in 5 = Da c Da c c
- in 6 = Da c c Da c c
- in 7 = Da c c Da c c c

The preferred structure involves two or three bars in a regular form and two or one with Layakari:

Da c c c | Da c c c | Da c c c | Da c Da c c |

The fundamental Bola of the Jhālā comprises Ḍā on the melodic string and Rā (c) on the Cikārī, where the combination of four strokes, for example, |ḌāRāRāRā| or |Da c c c|, forms a time unit of four Matras.

Singers emulate this purely instrumental Sabdalamkara with Bola TāNāNāNā or DeReNaTa or even incorporate Mantras such as |HariOmNarayana| within a melody.

Although the phases leading to the Jhala involve both singers and musicians, this phase is distinctly instrumental. There are instances of singers imitating specific rhythmic effects with their voices.

From this point onward, the rhythmic dimension of the Ālāpa becomes overtly explicit. Occasionally, musicians introduce this part directly from the 'Madhya-Druta.' Jhālā is an onomatopoeic term, mirroring the sound produced by the Cikārī. The drone created by three strings, tuned to Pa, the central Sa, and the upper octave's Sa, serves as a backdrop to the Rāga's exposition.

The plectrum or Mizrab swiftly traverses between the Cikārī and the string capable of producing the melody, alternating in various rhythmic combinations. At times, percussion instruments commence accompanying the instrument during this phase, although this usually occurs only in the Laḍī phase.