S-R-G-mM-P-D-N-S

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A winding raga of complex historical lineage, Hameer (‘Royal, Regal’) enjoys a steady presence on the modern concert circuit. Re is weak in aroha, and Tanarang links the shuddha Dha vadi to “the enthusiasm and courage of warriors”, giving a pakad of GMND; DDP and uttarang-focused phrases such as Gm(N)DNS; PDPPS; MPDNS. Touches of komal ni can be taken in ascent, and both Ma positions are joined in vakra fashion on the way down (e.g. MPGmRS). Parrikar summarises the raga as “a traditional denizen of considerable heft, known to project a vigorous, dramatic mein…[offering] a variety of old dhrupad, dhamar, and khayal compositions”, adding that “it is not a ‘scalar’ raga, amenable to reconstitution with up-and-down phrases”. Refer to recordings by Krishnarao Shankar Pandit and Yeshwantbua Joshi, as well as an AUTRIM pitch-graph tracing an Ajoy Chakraborty rendition – plus the Mohammed Rafi classic Madhuban Mein Radhika Nache Re (from the 1960 film Kohinoor). Also see Kedar and Kamod, which lie nearby.

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• Raga Megalist (365+) •

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• Hindustani Raga Index •

Aroha: SRGm(N)D, NDNS

Avroh: SNDP, MPGmRS

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Chalan: e.g. Gm(N)D; P; GmDNS; SND; PMPGmR; PGmRS (Parrikar)

—Budhaditya Mukherjee (2017)—

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[gat, e.g. 0:42] (P)MPD, (P)MPG, RRGm N\D, (N)D, P, (P)MP P(SNS), N(SNS)D P(MP), P(G)R R(GmDPMP), (P)G/mR S, (P)MPD, (P)MPG, RRGm N\D…

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• Classifiers •

Explore hidden inter-raga connections: swara geometries, melodic features, murchana sets, ragangas, & more (also see the Full Tag List):

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Swaras: -4 | 5 | 6 | 7 | 8 | 9 | 10+

Sapta: Audav | Shadav | Sampurna

Poorvang: SRGM | SRG | SRM | SGM

Uttarang: PDNS | PDS | PNS | DNS

Varjit: Re | Ga | Ma | Pa | Dha | Ni

Double: rR | gG | mM | dD | nN

Thaat: 10 | 32 | Enclosed | Inexact

Chal: All-shuddha | All-komal | Ma-tivra

Gaps: Anh. | Hemi. | 3-row | 4-row | 5-row

Symmetries: Mirror | Rotation | Palindr.

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Aroha: Audav | Shadav | Sampurna

Avroh: Audav | Shadav | Sampurna

Jati: Equal | Balanced | Av.+1 | Av.+2

Samay: Morning | Aftern. | Eve. | Night

Murchana: Bhup. | Bihag | Bilaw. | Charu.

Raganga: Bhairav | Malhar | Kan. | Todi

Construction: Jod | Mishra | Oddball

Origin: Ancient | Carnatic | Modern

Dominance: Poorvang | Uttarang

Prevalence: A-list | Prachalit | Aprach.

• Prakriti: Bihag, Nand, Kamod, Maru Bihag, Pat Bihag, Chayanat, Gaud Sarang, Shyam Kalyan, Khem Kalyan, Lakshmi Kalyan, Sanjh Saravali

–Swara Geometries–

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• Core form: S–R–G–mM–P–D–N–S

• Reverse: SrgmMPdnS

• Negative: 3-2-5-2

• Imperfect: 1 (Ma)

• Detached: none

• Symmetries: mirror (mM—NS)

• Murchanas: Bihag set

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• Quirks: ‘maximal‘ (swaras are optimally ‘spread out’)

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–Global Translations–

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• Carnatic: (~Behag)

S-R₂-G₃-M₁-M₂-P-D₂-N₃-S

• Jazz: Lydionian

1-2-3-4-#4-5-6-7-8

• Pitch classes (‘fret-jumps’):

0-2-4-5-6-7-9-11-0

(2–2–1–1–1–2–2–1)

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o • o • o o o o • o • o o

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• Tanpura: Sa–Pa (+Ni)

• Names: Hameer, Hamir, Hameer Kalyan (but not the Carnatic Hamir Kalyani)

—Vilayat Khan (1993)—