The saroda was an important part of the Lucknow court under Nawab Wajid Ali Shah. Saroda had inherited a bi-directional stroke pattern from the rababa. Along with the slow tempo of Masit Khani format, the sitar and the sarod came to adopt the medium-to-fast tempo of Raza Khani format as standard repertoire. Although both instruments have been popular in the twentieth century, the Masit Khani and Raza Khani formats remain, to this day, the mainstays of sitara and saroda music.
The sitara was greatly influenced by the thumrigenre. It attained its highest level of sophistication in the hands of Ustad Enayet Khan's son, Ustad Vilayat Khan. He has adapted compositions from both the thumari sub-genres and them popular across all movements. The totality of his "thumari experience" also gains a lot from his brilliant vocalization of bola-banao along with its rendition on the sitara.
The thumari genre has also influenced other major instrument i.e. sarangi. By the nineteenth century sarangi became the standard accompaniment to the thumari as well as the khayala. The sarangi player has been an important connection between the worlds of thumari and khayala.
Shehnai music has been inspired by the thumari genre. This has been possible for the towering influence of Ustad Bismillah Khan. He was born in Varanasi which is considered as the home of the bola-banao thumari. The sehnayi acquired a repertoire dominated by folk and regional music. When Bismillah Khan raised the sehnayi to the status of a concert instrument, he also made the dadra, kajan, caiti, and faguna songs of the Benares region an integral part of sehnayi repertoire.
The Bansuri has conceded a significant place to the thumri and other semi-classical genres in its list. This pattern is attributed to the phenomenal musicianship of two maestros, Pannalal Ghosh and Hariprasad Chaurasia. Ghosh tended to perform bola-banao thumaris more frequently in the traditional dipacandi while Chaurasia has an affinity for keherva, rupaka and dadara.
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