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Hameer
ThaatKalyan
Time of dayEarly night, 9–12[1]
ArohanaS G M D N Ṡ[1]
AvarohanaṠ N D P M̄ P G M R S[1]
VadiDha
SamavadiGa
Synonym
  • Hambir
  • Hameer
  • Hameer Kalyan
SimilarKamod, Kedar, Gaud Sarang, Chhayanat

Hameer is a nocturnal Hindustani classical raga nominally placed in Kalyan thaat. All the (shuddha swaras (natural notes) along with (teevra madhyam are used in it. Generally, its vaadi swar (the most used, principal note of a raga on which a pause may be taken) is dhaivat and the samavaadi swar (the second-most used important note assisting the vaadi swar) is gandhar. However, some exponents consider the vaadi swar to be pancham (G natural) as Hameer is mainly sung in the upper half of an octave and is nocturnal. Pancham is not taken in the aaroh but is taken in avroh. Its jati is "Sampurn Sampurn". "Vadi Svar" is Dhaivat (Dh) and Samvadi Swar is Gandhar.

The Carnatic raaga named Hameer Kalyani is similar to Hindusthani raag Kedar, not to Hindusthani Hamir. Carnatic music also has a separate raaga named Kedaram. As it happens, the Hindusthani raagas Kedar, Kamod and Hameer have fairly strong genetic overlap; in Kedar, madhyama is prominent; in Kamod it is Pancham; and in Hameer it is dhaivat which is most dominant.

Ascent and descent

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In the ascent, all natural notes are used, sometimes adding F#. In the descent, both of the madhyamas are used. A feature during the descent is the series of swaras 'Pa ga ma re sa' (G E F D C). At times, Komal Nishad (ni) (B flat) is also used as in "Dha ni Pa" during the descent. The general ascent and descent of the notes is: 

                  Sa Re Sa, Ga Ma Dha, Ni Dha Sa
                  C  D  C, E  F  A, B  A   C

                  Sa Ni Dha Pa, ma Pa Dha Pa, Ga Ma Re Sa
                  C  B  A   G, F# G  A   G, E  F  D  C

Scholars do not permit the use of teevra madhyam in this raga and consider it to have emanated from Bilaval. But today the F# has become part of the raga. A special characteristic feature of this raga is the specific way in which the dhaivat (dha) is sung or played with a touch of upper nishad (ni) at the beginning.

Organization and relationships

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Samay (time)

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The time to sing this raga is 2nd prahar of night i.e. 9:00pm–12:00am.

Film Songs

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Tamil

[edit]
Song Movie Composer Singer
En Uyir Thozhi Karnan Viswanathan–Ramamoorthy P. Susheela
Udaluku Uyir Kaaval Manapanthal P. B. Sreenivas
Kannizhantha Enippadigal K. V. Mahadevan P. Susheela
Chandrodayam Oru Pennanatho Chandhrodhayam M. S. Viswanathan T. M. Soundararajan, P. Susheela
Vellaikkamalathiley Gowri Kalyanam Soolamangalam Rajalakshmi
Kaaluku Keezhe Naluvuthu Silambu K. S. Chitra
Netru parthatho En Kanavar S. P. Venkatesh
Yeriyile Oru Kashmir Roja

(Ragamalika:Kedar/Hamirkalyani,Valaji)

Madhanamaaligai M. B. Sreenivasan P. Suseela, K. J. Yesudas
Kaiyil Veenai Vietnam Colony Ilaiyaraaja Bombay Jayashree
Inimel Naalum Iravu Pookkal S. Janaki
Nila Kaikiradhu Indira A. R. Rahman Hariharan, Harini
Malargale Malargale

(Shades of Sarawathi and Hamirkalyani)

Love Birds K. S. Chitra, Hariharan
Swasame Swasame

(Ragamalika:Kedar/Hamirkalyani,Maand)

Thenali S. P. Balasubrahmanyam, Sadhana Sargam
Kanava Illai Kaatra Ratchagan Srinivas
Murali Mogha Galatta Kalyanam Haricharan, K. S. Chitra
Manasukkul Kalyana Agathigal V. S. Narasimhan Raj Sitaraman, P. Susheela
Iruvathu Vayathu Varai Kannodu Kanbathellam Deva Hariharan, S. Janaki
Pirivellam Soori Harish Raghavendra, Chinmayi

Language:Hindi

[edit]
  • The song 'duniyaa hammare pyaar kii', from film Lahore (1949), sung by Karan Diwan and Lata Mangeshkar, and composed by Shyam Sunder, is set to Hameer.
  • The song from the movie Kohinoor, 'Madhuban mein Radhika Nachi re' is composed in the Hameer raga.
  • Vasant Prabhu had a composed a song 'gaa re kokila, gaa', for Marathi film Baayakochaa Bhaauu, set to Hameer, sung by Asha Bhosle.

Notes

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References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Hameer

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from Grokipedia
Hameer is a prominent raga in Hindustani classical music, classified under the Kalyan thaat and renowned for evoking the veer rasa, a mood of bravery, courage, and heroic enthusiasm. It is typically performed in the late evening, during the second prahar of the night, from approximately 9 PM to 12 AM, aligning with its dynamic and vigorous character that suits evening recitals. The raga's structure is vakra-sampoorna, employing all seven notes in ascent and descent but with a non-linear, (playful and fast-moving) phrasing that emphasizes the uttarang (upper ). The arohana and avarohana are vakra, featuring phrases such as S R G m P D N S' for ascent (with touches of komal Ni possible) and S' N D P M G M R S for descent, prominently featuring both shuddha (natural) and teevra (sharp) madhyam for melodic depth. The vadi swara is dhaivat, serving as the dominant note that anchors its heroic essence, with gandhar as the samvadi, creating a resonant interplay. Hameer draws influences from ragas like Yaman, Kedar, and Kamod, incorporating the latter's distinctive ang (phrase) of ga ma re sa to infuse a sense of valor and drama. A key feature is the near-mandatory kan (grace note) of nishad on dhaivat, along with occasional vivadi (dissonant) use of komal nishad, which adds to its complex historical lineage and abstract, winding melodic paths. Its pakad (catch phrase) often revolves around motifs like ga ma ni dha or dha dha pa, making it a staple in dhrupad, dhamar, and khayal performances by masters such as Ravi Shankar. Despite variations across gharanas, Hameer maintains a steady presence in modern concerts, celebrated for its regal ('royal') intensity and ability to stir warrior-like emotions.

Musical Structure

Arohana and Avarohana

Raga Hameer belongs to the audav-sampurna vakra jati, with an audav arohana ascending primarily through shuddha swaras in a straight or slightly vakra manner: Sa Ga Ma Dha Ni Sa' (S G m D N S'). This scale omits Rishabh and Pancham in the basic ascent, with Dhaivat serving as the vadi swara to anchor the melodic progression. Variants occasionally incorporate a weak Rishabh or teevra Madhyam for emphasis, such as S R G m D N S' or S G M N D S', reflecting influences from Kalyan thaat while maintaining the raga's core skeleton. In contrast, the avarohana employs a vakra, zigzag descent that introduces teevra Madhyam and elaborates on the scale's melodic contour: Sa' Ni Dha Pa Ma Pa Ga m Pa Ga m Re Sa (S' N D P M P G m P G m R S). This path emphasizes Pancham as a repose point, with phrases like "Pa Ga Ma Re Sa" (P G m R S) creating a distinctive meandering flow that avoids a linear drop. The teevra Madhyam (M) is strictly featured in the descent, often in combinations such as M P G m R S, distinguishing Hameer's structure from purer ragas. A notable feature in the avarohana is the occasional use of komal Nishad as a vivadi swara, particularly in descending phrases like "Dha Ni Pa" (D kN P), which adds tension and depth without altering the primary shuddha Nishad dominance. This variant appears sparingly to evoke subtle emotional nuances, as documented in traditional treatises. Sargam examples illustrate these patterns: for arohana, a simple rendition might be S G m D N S' with lingering holds on Ga and Dha; for avarohana, S' N D P M P G m R S, incorporating the zigzag via detours like P G m P before resolving to Re Sa.

Swaras and Vadi-Samvadi

In Raga Hameer, the swaras employed are primarily the shuddha (natural) notes—Shadja (S), Rishabha (R), Gandhara (G), Madhyama (m), Panchama (P), Dhaivata (D), and Nishada (N)—with the teevra (sharp) Madhyama (M) used prominently in the avarohana for added intensity. The komal (flat) Nishada (kN) appears occasionally as a vivadi (dissonant) grace note in the descent, enhancing ornamental phrases without altering the core scale. The vadi swara, or the most dominant note, is Dhaivata (D), which is emphasized through sustained nyas (resting) positions and meends (glides), underscoring its role in providing strength and a sense of resolution to melodic phrases. Complementing this, the samvadi swara is Gandhara (G), which offers harmonic contrast and stability, often approached via khatka (oscillating) movements to balance the prominence of Dhaivata. Certain note restrictions shape Hameer's structure: Panchama (P) is treated vakra (), appearing in curved, non-linear patterns rather than straightforward ascent, while Madhyama oscillates between its shuddha and teevra forms to create dynamic tension, as in transitions like M P G m D. Representative swara combinations, such as G m N D in the ascent, build escalating tension toward Dhaivata, with D D reinforcing the raga's vigorous character.

Thaat and Jati

Hameer is classified under the Kalyan thaat in the Hindustani raga system, serving as its primary parent scale characterized by shuddha notes alongside the characteristic teevra madhyam. Its jati is Audav-Sampurna Vakra, indicating a five-note ascent and seven-note descent with zigzag phrasing, though all seven swaras are employed in elaboration. Known by synonyms such as Hambir and Hameer Kalyan, it is distinct from the Carnatic raga Hamir Kalyani, which is the equivalent of the Hindustani raga Kedar. In some interpretations, Hameer relates to the Bilaval thaat through variants emphasizing shuddha madhyam, reflecting its Bilaval anga influences. The raga exhibits structural completeness as uttaranga-pradhan, with emphasis on the upper octave and dynamic, non-linear phrasing that enhances its melodic flow. Within the Kalyan thaat, its vadi on Dha serves as a key identifier.

Characteristics and Performance

Rasa and Samay

Hameer evokes the veer rasa, characterized by bravery, heroism, and enthusiasm, instilling a sense of warrior-like courage and dynamism in listeners. This emotional essence is amplified through the raga's vigorous and dramatic structure, which emphasizes bold, ascending phrases that project regal intensity and motivational energy. As a nocturnal raga within the Kalyan thaat, Hameer is traditionally performed during the second prahar of the night, from 9:00 PM to 12:00 AM, aligning with the thaat's broader associations with evening and late-night serenity. The timing enhances its heroic mood, as the night's deepening ambiance complements the raga's dynamic expressions without venturing into romantic or shringara elements. In performance, fast tempos and emphatic bold phrases further intensify the veer sentiment, creating an uplifting and invigorating atmosphere that avoids softer, lyrical tendencies. The raga's emphasis on the uttaranga (upper octave) contributes to this energetic rasa, lending a sense of elevation and power. Culturally, Hameer finds resonance in traditional narratives depicting valor, where its stirring quality underscores themes of heroism and resolve.

Pakad and Key Phrases

The primary pakad of Rāga Hameer is G M (N) D P G M R S, a descending phrase that prominently features the tīvra madhyam (M̄) to evoke the rāga's dynamic essence. This motif serves as the structural anchor, often rendered with vakra (non-linear) movements to avoid straight scalar ascents, emphasizing (playful) and swift teevra transitions that highlight the rāga's upper focus. Key phrases defining Hameer include the ascending G M N D, which builds tension toward the vadi dhaivat (D), and descending patterns such as D D P and N D P M̄ P G M R S, where the repeated dhaivat provides repose before the vakra descent. The zigzag motif P G M R S ("Pa ga ma re sa") exemplifies the rāga's crooked, non-linear phrasing, often pivoting around dhaivat for rhythmic playfulness. These phrases incorporate occasional touches of komal (kN) in ascents, adding subtle vivādi nuance without dominating the shuddha swaras. Ornamentations enhance Hameer's vigor through meend (glides) between ga and madhyam, creating smooth connections in phrases like G M N D, and andolan (oscillations) on dhaivat to sustain its warrior-like intensity. Khatka (grace notes) often accompanies the approach to dhaivat from , as in N D, while the use of kN appears in transitional motifs like "Dha ni re sa" for expressive depth. Bandish examples, such as the common composition "Ae ri sakhi" in madhyalay tīntāl, center on these phrases, unfolding the pakad in vilambit expansions before accelerating into chanchal taans that prioritize vakra movements over linear sangatis.

Similar and Derivative Ragas

Hameer shares melodic similarities with several ragas in the Kalyan thaat, particularly Kedar, Kamod, Gaud Sarang, and Chhayanat, due to overlapping swaras and phrases, but distinctions arise in phrase development and emotional emphasis. Kedar employs teevra madhyam prominently but omits komal nishad, resulting in a more linear and contemplative flow compared to Hameer's bold, zigzag descent featuring vakra movements around dhaivat. In contrast, Kamod incorporates a similar ascending phrase like G M R S (a Kamod ang in Hameer) but evokes a softer, more romantic rasa through greater emphasis on pancham, whereas Hameer maintains a vigorous, veer-oriented character with faster, non-linear uttarang phrases. Gaud Sarang differs in its stronger pancham emphasis and sarang ang, leading to a fuller, more grounded mandra development, unlike Hameer's (playful) and dhaivat-centric uttarang structure that avoids prolonged pancham lingerings. Chhayanat, while sharing komal usage, leans toward a more emotionally swaying and romantic mood with smoother transitions, setting it apart from Hameer's dynamic, warrior-like boldness achieved through kan-s of on dhaivat and avoidance of shuddha in core phrases. A key derivative is Hameer Kalyan, a jod raga blending Hameer with stronger influences, featuring both shuddha and teevra madhyam alongside komal and shuddha nishad in a scale of Sa Re Ga ma Ma Pa Dha ni Ni, performed in late evening for a more expansive, Kalyanic elaboration. Hameer has no major janya ragas but occasionally influences minor adaptations in film music. In , Hameer Kalyani corresponds closely to Hindustani Kedar rather than Hameer, though loose fusion ties exist with Hamir Bahar in cross-traditional contexts.

History and Etymology

Origins and Name Meaning

The name Hameer, also spelled Hamir, derives from roots signifying "royal" or "regal," evoking a sense of and grandeur in its linguistic connotation. This aligns with the raga's inherent dynamism and power, often interpreted as reflecting heroic or elevated stature in musical . The term embodies the veer rasa, or heroic sentiment, which underscores themes of bravery and valor central to the raga's emotional profile. In traditional descriptions, Hameer symbolizes the and of , portraying a mood akin to that of a "well-built muscular and hardy warrior." This association ties the name to cultural motifs of regal authority and martial prowess, with possible evolutions from regional variants like "Hambir" in dialects that emphasize strength and leadership. Hameer's conceptual origins likely stem from medieval musical treatises of the thirteenth to fifteenth centuries, where it emerged as a distinct mode symbolizing royal and battle-inspired themes in and performance traditions, though not explicitly detailed in works like the (13th century). These early structures highlight bravery as a core aesthetic, linking Hameer to broader epic narratives of heroic figures in Indian cultural lore.

Historical Development and Texts

The raga Hameer finds its earliest documented references in the context of Mughal-era music, where it emerged as a syncretic form influenced by Persian maqams during the 16th and 17th centuries. By the early 20th century, Vishnu Narayan Bhatkhande systematically classified Hameer as a raga of the Kalyan thaat in his seminal work Hindustani Sangeet Paddhati, marking a key step in its formalization within Hindustani musicology. In Bhatkhande's Kramik Pustak Malika (published between 1910 and 1932), Hameer is elaborated with detailed descriptions, including characteristic pakad phrases like S G M D N S' and representative bandishes such as "Mendere Yaar Aawi" in Ektaal, which illustrate its melodic structure and phrasing. The treatise emphasizes Hameer's audhav-sampurna jati and its placement within the Kalyan thaat, providing notated examples that standardized its swara combinations for practitioners. The 20th-century text Tanarang by Krishnarao Shankar Pandit further develops Hameer's profile, highlighting its veer rasa (heroic sentiment) and dynamic character through compositions that evoke warrior-like enthusiasm, particularly via phrases involving shuddha dhaivatam. This work includes multiple bandishen in forms like madhya laya khayal and sadra, underscoring the raga's chanchal (restless) nature and its vachak swaras such as G M N D and D D P. Historically, Hameer evolved from a medieval emphasis on shuddha madhyam in its ascent and descent to greater incorporation of teevra madhyam in gharana-specific interpretations, particularly in the and traditions, where the sharpened madhyam adds intensity to uttarang explorations. In the , the raga holds central importance, akin to Raga Nand in Agra-Atrauli, with performances featuring vigorous bol-taans that amplify its dramatic vigor. Gharana variations further diversified Hameer's rendering: the Imdadkhani tradition on instruments like introduces intricate taans weaving both madhyams, enhancing its rhythmic complexity, while the Rampur-Sahaswan prioritizes expansive, bold alaps to establish its regal contour before transitioning to taans. This institutional framework helped preserve and propagate the raga's evolved form across modern concert traditions.

Notable Interpretations

Classical Performances by Artists

, a prominent vocalist from the Rampur-Sahaswan , is renowned for his emotive alaps in Hameer, where he explores the raga's upper octave with profound depth and emotional intensity. His rendition in the album Maestro's Choice (2005) features a vilambit khayal in madhyalaya ada chautaal followed by a , showcasing his mastery in blending intricate taans with the raga's heroic essence. Live concerts from the 1990s to 2020s, such as his 2016 performance of a bandish in ada chautaal and , highlight his ability to evoke veer rasa through sustained, resonant phrases. Pandit Ajoy Chakraborty offers fluid taans in Raga Hameer that amplify its veer rasa, drawing from his training in the to create seamless ascents and descents. In a 2005 live recital, he performed the with elaborate bol taans, emphasizing its nocturnal character through agile phrasing and rhythmic variations in teentaal. His 2008 concert further demonstrates this style, integrating gamaks that enhance the raga's bold, majestic mood. Among instrumentalists, Ustad Vilayat Khan's rendition of Raga Hameer at the 1993 Royal Festival Hall concert stands out for its dramatic meends, particularly in the where he emphasizes the uttaranga notes like Dha and Ni for a sense of grandeur. Accompanied by Sabir Khan on , the performance transitions into jor and jhala with vigorous strums that capture the raga's heroic vigor. Pandit Buddhaditya Mukherjee, representing the Imdadkhani gharana, delivers intricate bol taans on in Raga Hameer, as heard in his 2000 Basant Bahar recital where fast jor-jhala sections showcase technical precision and rhythmic complexity. His 2017 live performance at Bawali Rajbari features elaborate taan patterns that highlight the raga's scalar movements, blending melody with percussive elements. Pandit Venkatesh Kumar incorporates Dhrupad-Dhamar fusion elements in his interpretations of Raga Hameer, infusing khayal with robust, syllabic nom-toms for a structured yet expansive feel. In a 2023 recital at IIISC Auditorium, he rendered a like "Chameli Phooli " with fusion phrasing that merges dhrupad's and dhamar's playfulness. Ustad Shahid Parvez Khan, also from the Imdadkhani , excels in sitar renditions of Raga Hameer, as in his 2020 performance of a traditional composition with detailed bol expansions. His 2013 recording emphasizes the raga's madhyalaya teentaal structure, using meends and taans to evoke its evening-time heroism. Raga Hameer has been prominently featured in since the mid-20th century, often evoking its characteristic heroic and romantic sentiments through melodic adaptations of its key phrases. One seminal example is "Madhuban Mein Radhika Nache Re" from the 1960 film Kohinoor, composed by and sung by , which captures the raga's vibrant ascent and descent in a celebratory sequence. These songs, particularly from the Rafi era, demonstrate the raga's integration into Bollywood's narrative-driven melodies, blending classical purity with orchestration. While rarer in South Indian cinema compared to , Hameer has influenced select compositions in Telugu and , such as "Bhaashpa Saagara Theerathe" from the Malayalam film Thattakam (1998) and occasional Telugu tracks like those in Utharakaandam (1991). In popular music, the raga appears in instrumental renditions and modern fusions; for instance, Hariharan has blended Hameer's phrases with contemporary elements in tracks like his vocal contributions to Rahman-orchestrated songs, extending its reach beyond traditional film scores. Overall, Hameer's majestic and virile essence has made it ideal for action-romantic narratives in Indian cinema, with over a dozen verified songs from the to the 2000s, often adapting core pakad motifs as melodic hooks to enhance emotional depth.

References

  1. https://www.indianclassicalmusic.com/hameer
  2. https://tanarang.com/raag-hameer/
  3. https://meetkalakar.com/Artipedia/raga-hameer
  4. https://ragajunglism.org/ragas/hameer/
  5. https://www.parrikar.org/hindustani/hameer/
  6. https://www.karnatik.com/hcragatable.shtml
  7. https://raag-hindustani.com/Embellishment.html
  8. https://www.sangeethamshare.org/murthy/000-Notice-etc/Raga-lyrics-first-lines-in-Hindustani-vilambit-khyal.htm
  9. https://www.chandraveena.com/blog/r28-hamir-kalyan/
  10. https://musicacademymadras.in/catalogue/files/souv/1961_Thirty%20fifth%20conference%20souvenir.pdf
  11. https://minpaku.repo.nii.ac.jp/record/2000204/files/KH_048_4_01.pdf
  12. https://www.mercatus.org/ideasofindia/katherine-schofield-hidden-history-music-mughal-india
  13. https://archive.org/details/hindustani-sangeet-paddhati-kramik-pustak-malika-part-1
  14. https://www.youtube.com/watch?v=8z5Vdj6GmwM
  15. https://www.youtube.com/watch?v=J1t_ftmiRbE
  16. https://www.youtube.com/watch?v=Q6O5KrywLVo
  17. https://www.youtube.com/watch?v=e2HSciLl9Ms
  18. https://open.spotify.com/track/7loJyHMysgmuWduuOLmLZl
  19. https://music.apple.com/us/album/raga-hameer-live-at-the-royal-festival-hall-london-1993/1767777803
  20. https://www.discogs.com/release/9781876-Ustad-Vilayat-Khan-Raga-Hameer
  21. https://www.youtube.com/watch?v=PQuPbNOHIoY
  22. https://player.darbar.org/videos/dch171-india-2017-buddhaditya-mukherjee-hameer
  23. https://www.youtube.com/watch?v=wPXQmdZH7Ew
  24. https://www.youtube.com/watch?v=LEQ_spbkEtg
  25. https://www.youtube.com/watch?v=mnmCcgPIxvM
  26. https://music.apple.com/us/song/raag-hameer/606325503
  27. https://chandrakantha.com/music-and-dance/film-and-pop/film-songs-rags/film-songs-rag-hamir/
  28. http://ragawisesongs.blogspot.com/2011/12/hamir-kalyani.html
  29. https://www.youtube.com/watch?v=Bgym023avFg
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