Thumri

Thumri is a semi-classical music genre in India that is primarily associated with North Indian traditions. It originated in the 19th century and is known for its rich and emotive form. It somewhat mellows down the elements of classical music to make it more relatable to the masses.

The term "thumri" derives from the Hindi verb thumaknaa. Thumaknaa refers to a style of walking on the beats of the song. This genre is largely associated with theatrical performance and hence dramatic expressions.

Thumri's compositions are mostly based on love poems. The themes include talking to the beloved—requesting, coaxing, cajoling, complaining, and pining for love.

Unlike strict classical music, Thumri is more flexible. It allows singers to improvise and add their own feelings. The music is set to light rhythms like dadra or keherva, making it soft and easy to enjoy.

There are two main types:

Bandish Thumri, which follows a structured tune, and

Bol Banav Thumri, is more about expressing emotions freely.

Thumri is connected to Kathak dance. The music follows the dancer's expressions and movements. Singers like Begum Akhtar, Girija Devi, and Bade Ghulam Ali Khan have kept Thumri alive. Today, it is loved for its simple beauty and deep emotions.

​​​​​​Thumri is a special type of Indian semi-classical music. It mixes feelings, melody, and storytelling. Thumri started in royal courts and is now sung in modern concerts. Its journey shows how it has changed and stayed popular over time.

Origins in the 19th Century

Thumri began in the 19th century during Nawab Wajid Ali Shah's rule. He was the last ruler of Awadh (now Lucknow). Wajid Ali Shah loved music, dance, and poetry. He supported artists and also created songs and performed. Under his rule, Lucknow became a center for culture. Thumri grew as an art form full of deep emotions and expressions.

In the early days, Thumri was part of Lucknow's courtesan culture. Courtesans, called tawaifs, were skilled in music, dance, and poetry. They used Thumri to show their talent. The songs had romantic and lyrical themes. Many were about Radha and Krishna’s love or human feelings of longing and separation.

Thumri music was light and playful. It focused on melody instead of strict classical rules. Often, Kathak dancers performed with Thumri. The dancers expressed the lyrics through gestures and movements, bringing the music and story to life.

Transition to Banaras and Regional Styles

In the mid-19th century, Lucknow’s court declined due to political changes. The British took over Awadh in 1856. Many musicians and artists left Lucknow and moved to other places. Banaras (now Varanasi) became an important center for Thumri.

In Banaras, Thumri became more emotional and expressive. This style, called Bol Banav Thumri, focused on the meaning of the lyrics. Singers slowed down the music to show the emotions in each word. They gave their own feelings and ideas to the performance, making it personal.

Banaras added a spiritual touch to Thumri. Lucknow’s Thumri was romantic and playful, but the Banaras style often celebrated Krishna and Radha’s divine love. It also showed the devotion and longing of people for God.

Other places like Punjab and Bengal created their own styles of Thumri. In Punjab, Bade Ghulam Ali Khan made a lively version. It was faster and mixed folk music with classical details. Each region added its own flavor to Thumri.

Thumri in the 20th Century

The 20th century was the golden age of Thumri. Great artists made it famous across India. Legends like Begum Akhtar, Girija Devi, Siddheshwari Devi, and Bade Ghulam Ali Khan added their unique styles to Thumri.

In this time, Thumri also became part of Indian cinema. Its emotional lyrics and beautiful melodies fit well with film music. Many old Bollywood songs were inspired by Thumri, making it popular with more people.

Thumri in Contemporary Times

Today, Thumri is still loved but not as popular as in its golden age. It is performed at concerts and music festivals that celebrate India’s classical traditions.

Modern singers like Shubha Mudgal and Kaushiki Chakraborty have given Thumri a fresh touch. They mix it with new styles but keep its original charm. This helps Thumri connect with younger listeners.

Thumri is also used in fusion music. It is blended with jazz, world music, and other modern sounds. This shows how flexible and timeless Thumri is.

Though there are challenges, many people work hard to keep Thumri alive. Music festivals and classical music events often include Thumri, ensuring it continues to inspire audiences.

Also Read - Semi Classical Music - The Heart of Indian Music

A Thumri is characterized by its unique blend of melody, emotion, and improvisation. It has a relatively flexible and open structure compared to more rigid classical forms like Dhrupad or Khayal. The primary focus in Thumri is on emotive expression, conveyed through both the lyrics (bols) and the music. Below is a breakdown of its musical and emotive components:

1. Lyrics (Bols)

The lyrics of a Thumri are central to its identity. They are usually written in Awadhi, Braj Bhasha, or Hindi, and occasionally in Urdu. The content revolves around themes of love, devotion, and longing, often portraying the relationship between Radha and Krishna. Other themes may include separation (viraha), celebration, or divine surrender.

The lyrics evoke deep emotions (rasa), typically focusing on Shringar Rasa (romantic love) or Bhakti Rasa (devotion). Singers interpret the words with great sensitivity, exploring subtle emotions and expressions within each phrase.

2. Raga (Melodic Framework)

Thumri is based on lighter ragas, which provide a melodic framework but allow for greater flexibility. Common ragas used in Thumri include Kafi, Khamaj, Bhairavi, Piloo, Desh, and Yaman. These ragas are chosen for their ability to express gentle and romantic moods.

The choice of raga sets the overall emotional tone of the Thumri. Unlike classical renditions, the raga in Thumri is often treated more freely, allowing the singer to explore moods without being bound by strict rules.

3. Tala (Rhythmic Cycle)

Thumri is typically set to light and flexible talas such as Dadra (6 beats) and Keherva (8 beats). These rhythmic cycles are simpler than the complex talas used in classical music, providing a steady yet unobtrusive base for the singer's improvisations.

The tala provides a gentle, flowing rhythm that enhances the lyrical and melodic beauty. The simplicity of the rhythm allows the singer to focus on emotive improvisations without being restricted by intricate rhythmic patterns.

4. Refrain and Variation

A Thumri typically begins with a short refrain (sthayi), which sets the main melody and introduces the central theme of the composition. This is followed by a more elaborate section (antara), where the singer explores variations and improvisations.

The refrain serves as an anchor, grounding the listener in the primary mood of the composition. Variations in the antara allow the singer to delve deeper into the emotional nuances, using techniques like meend (glides), murki (ornamentation), and gamak (vibrations) to heighten the expressiveness.

5. Improvisation (Bol-Banav)

Improvisation is a hallmark of Thumri. Singers freely interpret the lyrics by repeating and elaborating on phrases (bols), often focusing on key emotional words. This technique, known as bol-banav, emphasizes the emotive and lyrical aspects over strict adherence to the raga.

Improvisation allows singers to express their individuality and connect deeply with the audience. By lingering on certain words or phrases, they bring out layers of meaning and emotion, transforming each performance into a unique experience.

6. Ornamentation Techniques

Thumri is rich in ornamentation, using techniques like:

• Meend: Smooth glides between notes, adding fluidity.
• Murki: Quick, delicate ornamentation of notes.
• Gamak: Rapid oscillation or embellishment of a note.
• Khatka: Sudden and quick turns of melody.

These techniques add depth and subtlety, making the performance more expressive and engaging. They mimic the natural inflections of human emotion, making the music feel conversational and heartfelt.

7. Expression (Bhava)

Thumri places immense emphasis on bhava (expression). Singers often use their voices to mimic the emotions conveyed in the lyrics, such as joy, sorrow, longing, or devotion.

Expression is the soul of Thumri. The singer's ability to communicate emotions through voice modulation, pauses, and dynamics is what brings the lyrics to life. The goal is to move the listener emotionally, creating an intimate and personal connection.

8. Accompaniment

The musical accompaniment in Thumri is minimal and supportive, allowing the singer to take center stage. Common instruments include:

• Harmonium: Provides melodic support.
• Tabla: Maintains the rhythm.
• Tanpura: Adds a continuous drone, creating a meditative atmosphere.
• Sarangi: Sometimes used to enhance the emotional quality of the performance.

The accompaniments create a gentle and immersive background, allowing the singer's improvisations and emotions to shine. The interplay between the singer and the accompanists often adds a dynamic, conversational element to the performance.

9. Dance Connection

Thumri has historical ties to Kathak dance, where the lyrics and music provide a foundation for the dancer’s storytelling. Dancers interpret the words with expressive gestures and movements, making the performance a visual and auditory experience.

This connection amplifies the emotive power of Thumri, as the music and dance together bring the narrative to life. The dancer’s expressions often mirror the singer’s improvisations, creating a seamless blend of art forms.

Thumri is a semi-classical form of Indian music. It is known for its deep emotions and beautiful lyrics. Over time, many styles of Thumri have developed. These include Bol Banav Thumri, Bandish Ki Thumri, Tappa-Thumri, Dadra, Khamaj Thumri, Bhakti Thumri, and Fusion Thumri.

Bol Banav Thumri is very expressive. Singers focus on the words and slowly add emotion through improvisation. It uses slow tempos and techniques like meend, murki, and gamak. This style is popular in the Banaras and Lucknow traditions.

Bandish Ki Thumri is more rhythmic and structured. It is based on fixed compositions in lighter classical styles. This type often uses faster tempos and rhythmic patterns like Dadra or Keherva tala. The Punjab Gharana made this style famous, especially through Bade Ghulam Ali Khan.

Tappa-Thumri mixes the fast folk-inspired Tappa with Thumri's emotions. It is lively, with quick melodic runs and playful themes. Bade Ghulam Ali Khan combined these styles beautifully.

Dadra is simpler and lighter than Thumri. It uses short compositions set to talas like Dadra (6 beats) or Keherva. Dadra songs are playful, romantic, or devotional. Singers like Begum Akhtar and Girija Devi made Dadra popular.

Khamaj Thumri is based on sweet ragas like Khamaj, Piloo, and Desh. It highlights light, joyful, and romantic themes. This style is loved in Banaras and Lucknow.

Bhakti Thumri focuses on devotion. It often tells stories of Radha and Krishna’s spiritual love. This style uses slow ragas like Bhairavi, Kafi, and Yaman to create a divine feel. Girija Devi was a master of Bhakti Thumri.

Fusion Thumri blends traditional Thumri with modern music like jazz and electronic sounds. It keeps the emotions of Thumri but adds new styles. Artists like Shubha Mudgal and Kaushiki Chakraborty have brought Thumri to global audiences through fusion.

1. Lucknow Gharana Thumri

The Lucknow style of Thumri originated in the 19th century at the court of Nawab Wajid Ali Shah. It emphasizes bol-banav, where the lyrics are elaborated and improvised to create intricate emotional narratives.

This style is characterized by slow tempos that allow the singer to explore deep emotional expression. The ragas commonly used, such as Kafi, Piloo, and Bhairavi, are ideal for slow, expressive improvisation.

2. Banaras Gharana Thumri

The Banaras style of Thumri emerged in the late 19th century and is influenced by the vibrant culture of Varanasi. It places a strong emphasis on rhythm, with intricate layakari (tempo manipulations) often used to enhance the composition.

Unlike the Lucknow style, Banaras Thumri is usually performed at a faster pace, reflecting a more energetic quality. It uses a variety of ragas such as Desh, Khamaj, and Tilak Kamod, often blending multiple ragas together for a rich, dynamic effect.

3. Punjabi Thumri

Punjabi Thumri is a regional variation that combines Thumri with folk traditions from the Punjab region. This style retains a simpler approach to improvisation, with a more direct, folk-like essence in the lyrics and melody.

The compositions are grounded in folk music, with instruments like harmonium and tabla providing the accompaniment. The lyrics often tell relatable stories from everyday life, giving it a more earthy and accessible flavor.

1. Nawab Wajid Ali Shah The last ruler of Awadh, he was a patron of Thumri and composed many Thumris himself. His works were emotional and set the foundation for the Lucknow style of Thumri.

2. Rasoolan Bai A famous Thumri singer from the Banaras Gharana, she was known for her expressive singing. Her Thumris captured deep emotions, especially themes of love and longing.

3. Siddheshwari Devi Called the "Queen of Thumri," she was a master of the Banaras style. Her voice had a soulful depth, and she could beautifully express emotions through her singing.

4. Girija Devi Known as the "Thumri Queen," Girija Devi took Thumri to new heights. Her performances were a mix of classical depth and folk sweetness, loved by audiences everywhere.

5. Begum Akhtar A legendary singer of light classical music, she blended ghazals and Thumris. Her haunting voice gave Thumris a unique charm that still touches hearts today.

6. Bade Ghulam Ali Khan A maestro of Hindustani classical music, he brought a classical touch to Thumri. His style combined technical brilliance with emotional expression.

7. Badi Moti Bai An iconic singer of the early 20th century, she was known for her mastery of the Khamaj Thumri. Her voice brought a unique sweetness to Thumri.

8. Naina Devi A noted Thumri artist, she was known for her elegant and refined style. She played a big role in popularizing Thumri on concert stages.

9. Shobha Gurtu Famous for her soft, melodious voice, she was a modern icon of Thumri. She could mix traditional and contemporary styles with ease.

10. Kaushiki Chakraborty A contemporary artist, she has brought a fresh approach to Thumri. Her performances combine tradition with modern interpretations, appealing to younger audiences.

11. Dr. Arindam Bhattacharyya A diligent vocalist of the modern times who has kept the Thumri tradition alive. He is a Gold Medalist from Rabindra Bharati University and a Grade A artist of Kolkata All India Radio. 

12. Sohni Chakraborty A young and dedicated vocalist who is a regular performer at All India Radio, Television, and various other musical concerts. She continues to learn and at the same time teaches students the skills to render Thumri songs perfectly.