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eyeofnewt

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Reply with quote  #1 
I've always thought of thumri as a slow (and for me, dull) genre of music, but apparently its a common misperception that all thumris are slow. According to one source, the modern thumri is slower in tempo than it used to be. I have read that the classification is pretty broad, as long as the composition is in a basic taal and deals with the sentiments of love and seperation, especially as relating to Radha and Krishna as the nayak/nayika pair.

That being said, I came across a song I would consider to be a thumri that I really liked:


Do I finally appreciate a thumri or is my dislike for the genre still intact :?:
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Christianamr

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Reply with quote  #2 
I am not sure that this would be a thumri , but then I am not an expert on this topic . Interesting article about the historical development of Thumris , by the way .

Some characteristics of typical thumris that I remember , are ( if I am correct ) :
- Lots of them ( but not all ) are in a slow 14-matra taal .
- At the end , the tempo often paces up in drut teental ( or even Keherwa ? ) , repeating short fragments of the lyrics in a way a little bit similar to Dhun ( but not exactly the same ) .
- The melodic embelishments do not sound as serious and difficult as in Khyal , tending more to the Ghazal style .
- The used ragas are of the kshudra variety , not so serious ones , but the ones one would use for Bhajans , Ghazals etc ... ( like Pilu , Khamaj , Pahadi , Bhairavi etc )

By the way , some days ago , I encountered a Thumri that made such an impression on me that I created a new topic for it :
Thumris

Here is another Thumri , from Begum Parveen Sultana , which has some of the characteristics that I have listed above :

Speaking about the thematic context , this one deals with the recurring Radha/Krishna topic .

Going back to the excerpt from the " Shri Krishna "- serial by Ramanand Sagar ( 1994 ) , which you have posted , for me it sounds rather like the typical storytelling embedded in songs , that are used for dramatic purposes in movies , theater pieces , dramas from Puranas and Itihasas etc ... . For me , it doesn

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jaan e kharabat

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Reply with quote  #3 
Here are a couple of example of the older style thumris, known as Bandish Ki Thumri:

Girija Devi-



Notice the madhyalay tempo and teental.

Jagdish Prasad-



Saranang with an even more extreme example of speed-


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If there are just ''six tones'' in an octave [sic] then why have frets for tones that don't exist?
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eyeofnewt

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Reply with quote  #4 
Quote:
Originally Posted by "Christianamr"
Some characteristics of typical thumris that I remember , are ( if I am correct ) :
- Lots of them ( but not all ) are in a slow 14-matra taal .
- At the end , the tempo often paces up in drut teental ( or even Keherwa ? ) , repeating short fragments of the lyrics in a way a little bit similar to Dhun ( but not exactly the same ) .
- The melodic embelishments do not sound as serious and difficult as in Khyal , tending more to the Ghazal style .
- The used ragas are of the kshudra variety , not so serious ones , but the ones one would use for Bhajans , Ghazals etc ... ( like Pilu , Khamaj , Pahadi , Bhairavi etc )
Thanks for listing the criteria or typical components of a thumri. Its hard to come by such a list.
Quote:
Originally Posted by "jaan
Here are a couple of example of the older style thumris, known as Bandish Ki Thumri
Here is a Kathak dance to up tempo bandish thumri:


I think it's been demonstrated that slow speed is not a requisite for thumri, but rather has become erroneously associated with it over time. According to the book Thumri in Historical and Stylistic Perspective by Peter Manuel, bandish ki thumri is usually fast in tempo but has been eclipsed by the other slower variety in recent times.
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