An ancient raga that maintained its popularity till date, Hameer is known for its special gait and vast scope for elaborations. Also known as Hameer Kalyan, this is very different from Hameer Kalyani of Carnatic stream.
Thhaat (parent scale)
Kalyan
Jaati:
Vakra-Sampoorn (deviatingly heptatonic)
Vaadi:
Dhaivat (D)
Samvaadi:
Gandhaar (G)
Swaras:
All shuddh swaras along with fleetingly used Teevra Madhyam (m) and Komal Nishaad (n)
Aaroh (ascent):
S, R S, G M D, N D S’ (Western Notes: C, D C, E F A, B A C)
Avaroh (descent)
S’ N D P, m P D P, G M R S (Western Notes: C B A G, F# G A G, E F D C)
Key phrases:
S, N.R S, G M R S, S P, m P G M D, D P, G M D, D n P, N D S’, S’R’S’, G’M’R’S’, S’N D P, m P D P, G M R G M D, P, G M P G M R S, G M D, P
Time:
Night (post-sunset)
It applies the same notes as Chhayanat, Kedaar and Kaamod; and yet maintains its identity very distinctly by laying emphasis on Dhaivat (D) in a unique fashion which always touches Nishaad (N) before coming down to rest at Pancham (P). As such its up-tilted face unveils it beauty in mid-tetrachord. Like the deviously employed Teevra Madhyam (m), vivaadi or dissonant Komal Nishaad (n) is also touched once in a while to add to its beauty and emotive appeal. Its pleading phrases give it a devotion dipped romantic character.
Bibliography
1. Bhatkhande V.N. (1919-1937) ‘Kramik Pustak Malika Vol 1-6’
2. The Oxford Encyclopaedia of the Music of India
3. Abhinav Geetanjali by Pandit Ramashreya Jha ‘Ramrang’
4. Rajan Parrikar Music Archive (Reflections on raga Hameer)
Links
1. Pandit Narayanrao Vyas (vocal)
2. Pandit Ravi Shankar (sitar)
3. Pandit Buddhdev Dasgupta (sarod)
4. Pandit Ulhas Kashalkar (vocal)
5. Ustad Rashid Khan (vocal)
Pandit Budhaditya Mukherjee plays Raag Hameer with Soumen Nandy delivering a vivacious accompaniment on the tabla. Recorded in Kolkata, West Bengal.
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