A concise composition of profound aesthetic significance, the Ṭhumrī constitutes one of the four primary forms of Indian classical music, alongside Dhrupada, Ṭappā, and Khayal. While it is considered an evolution from Khayal, and Khayal itself is seen as an evolution from Dhrupada, such theories should be approached with caution.

In comparison to Khayal, Ṭhumrī is shorter in duration and exhibits a substantial presence of ornamentation in the interplay of notes. Another distinctive feature of this form is its mode of exposition, often influenced by the subject matter of the lyrics and the mood of the vocalist or musician.

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Throughout the years, three principal schools or Gharanas of Ṭhumrī have emerged:

1. The Lucknow Gharana, established by Wāzid Alī Shāh
2. The Benares Gharana, with uncertain origins but popularized by singer Muizuddin Khān around the turn of the nineteenth and twentieth centuries
3. The Punjabi Gharana, which integrates the Lucknow style with the traditional folk music of Punjab.

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Among these, the Benares school is known for its solemnity and sobriety, rarely blending multiple Rāga and using notes without excessive ornamentation, allowing their purity to shine through and deeply resonate with the listener, evoking a sense of serenity.

Conversely, the Lucknow school explores lighter themes, rich in ornamental expressiveness, where each note appears as a cluster of embellishments. This style incorporates a significant use of Alaṁkāra, and the tempo is faster compared to the Benares style.

The Punjab style, in addition to its regional characteristics, stands out for its unexpected combinations of notes.

A distinct genre within Ṭhumrī is the Lācāva Ṭhumrī, often portraying the heroine's sacrificial attitude, with 'Lācāva' signifying 'the act of bending.' Love-themed songs frequently fall into this genre.

Ṭhumrī also serves as the name for a specific Rāga and Tāla.