Hameer

For the 2017 film, see Hameer (film).

For other uses, see Hameer.

Hameer

Thaat	Kalyan
Time of day	Early night, 9–12
Arohana	S G M D N Ṡ
Avarohana	Ṡ N D P M̄ P G M R S
Vadi	Dha
Samavadi	Ga
Synonym	Hambir Hameer Hameer Kalyan
Similar	Kamod, Kedar, Gaud Sarang, Chhayanat

Hameer is a nocturnal Hindustani classical raga (IAST: raga)

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nominally placed in Kalyan

thaat (IAST: thaat)

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. All the (

shuddha swaras (IAST: shuddha swaras)

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(natural notes) along with (

teevra madhyam (IAST: teevra madhyam)

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are used in it. Generally, its

vaadi swar (IAST: vaadi swar)

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(the most used, principal note of a raga on which a pause may be taken) is

dhaivat (IAST: dhaivat)

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and the

samavaadi swar (IAST: samavaadi swar)

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(the second-most used important note assisting the

vaadi swar (IAST: vaadi swar)

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) is

gandhar (IAST: gandhar)

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. However, some exponents consider the

vaadi swar (IAST: vaadi swar)

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to be

pancham (IAST: pancham)

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(G natural) as Hameer is mainly sung in the upper half of an octave and is nocturnal. Pancham is not taken in the

aaroh (IAST: aaroh)

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but is taken in

avroh (IAST: avroh)

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. Its

jati (IAST: jati)

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is "Shadav Sampurn". "Vadi Svar" is Dhaivat (Dh) and Samvadi Swar is Gandhar.

Ascent and descent

In the ascent, all natural notes are used, sometimes adding F#. In the descent, both of the madhyamas (IAST: madhyamas)

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are used. A feature during the descent is the series of

swaras (IAST: swaras)

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'Pa ga ma re sa' (G E F D C). At times,

Komal Nishad (ni) (IAST: Komal Nishad (ni))

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(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 (IAST: teevra madhyam)

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in this

raga (IAST: raga)

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and consider it to have emanated from Bilaval. But today the F# has become part of the

raga (IAST: raga)

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. A special characteristic feature of this

raga (IAST: raga)

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is the specific way in which the

dhaivat (IAST: dhaivat)

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(

dha (IAST: dha)

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) is sung or played with a touch of upper

nishad (IAST: nishad)

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(ni) at the beginning.

Organization and relationships

Samay (time)

The time to sing this raga is 2nd prahar (IAST: prahar)

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of night i.e. 9:00pm–12:00am.

Film Songs

Language:Tamil

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
Kannile Enna Undu	Aval Oru Thodar Kathai		P. Susheela
Vellaikkamalathiley	Gowri Kalyanam		Soolamangalam Rajalakshmi
Aval Oru Navarasa	Ulagam Sutrum Valiban		S. P. Balasubrahmanyam
Kaaluku Keezhe Naluvuthu	Silambu		K. S. Chitra
Yeriyile Oru Kashmir Roja (Ragamalika:Kedar/Hamirkalyani,Valaji)	Madhanamaaligai	M. B. Sreenivasan	P. Suseela, K. J. Yesudas
Kadhal Oviyam	Kavikkuyil	Ilaiyaraaja	Sujatha Mohan
Kaiyil Veenai	Vietnam Colony		Bombay Jayashree
Inimel Naalum	Iravu Pookal		S. Janaki
Nila Kaikiradhu	Indira	A. R. Rahman	Hariharan, Harini
Swasame Swasame (Ragamalika:Kedar/Hamirkalyani,Maand)	Thenali		S. P. Balasubrahmanyam, Sadhana Sargam
Kanava Illai Kaatra	Ratchagan		Srinivas
Manasukkul	Kalyana Agathigal	V. S. Narasimhan	Raj Sitaraman, P. Susheela
Iruvathu Vayathu Varai	Kannodu Kanbathellam	Deva	Hariharan, S. Janaki

Language:Hindi

• The song from the movie Kohinoor, 'Madhuban mein Radhika Nachi re' is composed in the Hameer raga

References

• Bor, Joep; Rao, Suvarnalata (1999). The Raga Guide: A Survey of 74 Hindustani Ragas. Nimbus Records with Rotterdam Conservatory of Music. p. 76. ISBN 9780954397609.