• Raag Hameer •


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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Aroha: SRGm(N)D, NDNS

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


—Budhaditya Mukherjee (2017)—

[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


• Classifiers •

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

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 | 32Enclosed | Inexact

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

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

Symmetries: Mirror | Rotation | Palindr.

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–

Core form: SRGmMPDNS
Reverse: SrgmMPdnS
Negative: 3-2-5-2
Imperfect: 1 (Ma)
Detached: none
Symmetries: mirror (mM—NS)
Murchanas: Bihag set

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


–Global Translations–

Carnatic: (~Behag)
Jazz: Lydionian
Pitch classes (‘fret-jumps’):

o • o • o o o o • o • o o


• Tanpura: Sa–Pa (+Ni)
• Names: Hameer, Hamir, Hameer Kalyan (but not the Carnatic Hamir Kalyani)


—Vilayat Khan (1993)—



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An open-ended project seeking to bring North Indian raga closer to all who approach with open ears. Combines direct input from dozens of leading Hindustani artists with in-depth insights from music history, global theory, performance practice, cognitive science, and much more! [out 2023-24]

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George Howlett is a London-based musician, writer, and teacher (guitars, sitar, tabla, & santoor). Above all I seek to enthuse fellow sonic searchers, interconnecting fresh vibrations with the voices, cultures, and passions behind them. See Homepage for more, and hit me up for Lessons!

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