1. The index and the middle fingers are held together in the ascent, while separating technique is used for the descent especially when the svaras are contiguous in a scale.

2. The index finger is never removed from the string except after reaching the lowest fret (suddha rishabha).

3. Pulling is done only up to two to three steps.

4. Left finger stopping is used appropriately for distinct sound quality.

5. Tribhinna, a gamaka peculiar to the vina to bring chord-like svara-cluster is sparingly used. But the svaras are sounded one after another and not simultaneously. In such cases the svaras correspond to the syllable of the text. For example, in the kriti Sarasasamadana (Raga: Kapinarayani, Tala: Adi, Composer: Thyagaraja) the first three syllables of the text in anupallavi, "Para masambhava" will be played by holding the index finger on the kaisiki nishaadaa fret (10th), against the three strings, mandaram, pancamam and sarani, and playing the svaras, ni (B-flat), ma (f), and ni (B-flat) one after another. This is typically a vina approach to the text.

6. For the gamaka, ravai left finger slide is coupled with a left finger pluck and a "drop." This is unique to Karaikudi style

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