After the vistar is completed, some rhythmic improvisations (layakāri) may be introduced before going into tān sequences.  Such melodic extensions and patterns can be sung with the words of the song (bol tān), in aakaar form or with the names of the notes (sargam).  Rapid tāns become more prominent in the medium to fast 

composition, Chhotā Khayaal, which concludes the presentation of the rāga.  A special variety of the chhotā khayaal is the Tarānā.  This medium to fast composition uses apparently meaningless syllables such as ta, na, de, re, dim.   

In the highly expressive and ornamented light-classical Thumri, the predominant motif of the song lyrics is erotic or mystical love.  Thumri compositions usually consist of a sthāyi and antarā and are mainly played in particular rāgas including Bhairavi, Desh, Jogiyā, Jhinjoti, Kāfi, Khamāj, Pahādi, Pilu, Sohini, Tilak Kāmod, Tilang. 

These rāgas allow the artiste the freedom to introduce accidental notes and passages from other rāgas.  The lyrics, Pad of vocal compositions cover a wide range of themes from religious, devotional and philosophical subjects to erotism and love (especially the amorous exploits of Lord Krishna).  Most khayaals and thumris are composed in Brij Bhāshā, the western literary dialect of Hindi; others in Avadhi, its eastern counterpart and Punjābi.  Brij Bhāsha is the language spoken in the area of Mathurā, where the Hindu God Krishna is said to have spent his childhood.