Meend or Mind is a term that actually describes a large variety of glissandos between two pitches. In a strict sense, it designates a glissando executed very slowly; other, more rapidly sung forms are designated by their own technical terms. The melodic shapes of these glissandos can assume various forms: commencing immediately after, shortly after, or long after starting the pitch of departure, and may lead to the target pitch by touching on inserted "resting points" on the way, or not.

Conceptually, a mind touches upon every shruti that lies between the starting pitch and the target pitch. This implies that a tonal inventory is employed that is not commonly part of the respective raga; harmonium players, therefore, in places insert pitches, or strike keys that are technically extrinsic to the respective raga. However, they never revert to a common and suggestive technique of the Euro-American region, running over the keys with the backs of their fingers or thumb, probably not least because this technique does not comply with the demand to touch on literally all shrutis in between two given pitches. Instead, they employ other methods, according to the musical context: Simultaneously, striking two or even more pitches that are adjacent, or, at least close to each other, produces a sound that is reminiscent of "something like a mind".

This Technique Is Chosen Depending On The Given Intervallic Frame:
(1) If only two pitches are being produced at a time, the interval generally does not exceed a fourth; in case of pitch distances that transcend a fourth, harmonium players tend to produce a tone cluster by holding several (adjacent) pitches at a time.

(2) If the framing interval is relatively large, for instance, a seventh or an octave, harmonium players often react with a solution that far from emulates the glissando sound of the mind: they fill the intervallic gap with a small, sometimes rhythmically simple, motive which has a clear tendency up or downwards. This is not an attempt to copy the phenomenon mind. Music example 4 shows such a replication by the harmonium that commences once that vocal soloist has reached the destination pitch

(3) Sometimes harmonium accompanists simply ignore the mind. If, for instance, the harmonium player "follows" the soloist closely, the target pitch is anticipated, omitting the mind, and "landing" on the glissando`s target pitch together with the vocalist. Because of the quick succession of events it can hardly be noticed that the mind is left out.

(4) If the mind is of lesser functional meaning, harmonium players sometimes plainly signify that the final pitch is approached from below (in the case of an upward glide) or from above (in the case of a downward glide), for instance by having a mordent or simple trill precede the target pitch