Hameer
हमीर
S, R S, G M D, N D S' | S' N D P, M# P D P, G M R S
Origins & Context
Raag Hameer is a Kalyan thaat raga of Hindustani music, performed at night, that uses the shuddha notes with both forms of Ma, tivra Ma only in passing. Shuddha means natural, tivra raised, and a thaat is a parent scale. It is also written Hamir or Hameer Kalyan.
In this notation, M# is tivra Ma and an apostrophe the upper octave. Darbar gives the aroha, or ascent, as S, R S, G M D, N D S'. Its avaroha, or descent, is S' N D P, M# P D P, G M R S, with both forms of Ma. One teaching outline drops Re from the ascent too, counting five notes up. The vadi, the most prominent note, is Dha, and the samvadi, its partner, is Ga.
Darbar writes that Hameer shares its notes with Chhayanat, Kedar and Kamod, and stands apart through Dha, which always touches Ni before resting on Pa. The teaching outline reaches Dha from Ni with a glide or a quick turn, and calls Dha very powerful.
KalaSudha presents Hindustani musicians in concert and releases their recordings. Its academy teaches ragas online and in local workshops, and each course is built by its instructor with KalaSudha.
Technical Details
Melodic structure and movement patterns
Aroha (Ascent)
S, R S, G M D, N D S'
Avroh (Descent)
S' N D P, M# P D P, G M R S
Pakad (Catch Phrase)
P, G M N D, D P, G M P G M R S
Additional Notes
Phraseologies
Key for these phrases: M# is tivra Ma, and an apostrophe puts a note in the upper octave.
Tivra Ma comes in passing, as in M# P G M D. Ga turns crooked in the descent, as in M P G M R S, and the raga leans to the upper half of the octave. Re may appear in the ascent now and then for colour, and komal Ni is allowed rarely in the descent as a vivadi, a sparing outside note.
Common Phrases
Around the World
Global connections and equivalent scales
With Sa on C, Hameer uses C, D, E, F, F sharp, G, A and B. George Howlett gives the jazz scale he calls Lydionian, 1 2 3 4 #4 5 6 7, as its translation, the same eight notes.