The gamut of emotions could vary to embarrassment, sulking, jealousy, and heartbreak as well, as noted before. They talk about their play and pranks with colors during Holi. The Hori Thumris are most often based on the romance of Krishna and Radha. Roopak, Deepchandi, Dadra, etc are the commonly used Talas. The rhythmic structure and improvisation play an important role. The tempo could be slow, medium, or fast-paced. Often, the melodic structure of the thumri is only loosely based on the specific raga, hence is referred to as “Mishra” (mixed) raga. The ragas are usually of lighter moods, such as Khamaaj (a personal favorite), Kaafi, Des (a universal favorite), Piloo, Gara, Pahaadi, Bhairavi. The poetic play of words and their embellishment as the singer often repeats lyrical phrases in different emotive and melodic ways to emphasize the meaning and Alankaars (poetic ornamentation). Unlike “purer” forms of Hindustani classical music such as Khayal, thumri places a lot of importance on its poetry usually in Brij Bhaasha or Awadhi. The different types of Thumris are always based on flirtation, love, romance and, eroticism, even the sulking, jealousy, yearning, and heartbreak associated with romance. I will instead focus on the Hori Thumris – the semi-classical songs based on Holi within the thumri sub-genre.
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