Hameer is a nocturnal Hindustani classical nominally placed in Kalyan . All the ( (natural notes) along with ( are used in it. Generally, its (the most used, principal note of a raga on which a pause may be taken) is and the (the second-most used important note assisting the ) is . However, some exponents consider the to be (G natural) as Hameer is mainly sung in the upper half of an octave and is nocturnal. Pancham is not taken in the but is taken in . Its 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
In the ascent, all natural notes are used, sometimes adding F#. In the descent, both of the are used. A feature during the descent is the series of 'Pa ga ma re sa' (G E F D C). At times, (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 in this and consider it to have emanated from Bilaval. But today the F# has become part of the . A special characteristic feature of this is the specific way in which the () is sung or played with a touch of upper (ni) at the beginning.
Organization and relationships
Samay (time) The time to sing this raga is 2nd of night i.e. 9:00pm–12:00am.
Film Songs 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 Vellaikkamalathiley Gowri Kalyanam Soolamangalam Rajalakshmi Kaaluku Keezhe Naluvuthu SilambuK. 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 Devi Vantha Neram Vandichakkaram Shankar–Ganesh S. P. Balasubrahmanyam, Vani Jairam Kaiyil Veenai Vietnam Colony Ilaiyaraaja Bombay Jayashree Inimel Naalum Iravu Pookkal S. Janaki Manasukkul Kalyana Agathigal V. S. Narasimhan Raj Sitaraman, P. Susheela 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 Iruvathu Vayathu Varai Kannodu KanbathellamDeva Hariharan, S. Janaki Pirivellam Soori Harish Raghavendra, Chinmayi
Language:Hindi 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
References