| Swar | Rishabh and Pancham Varjya in Aaroh. Both Madhyams. Rest all Shuddha Swaras. |
| Jati | Audhav - Sampurna Vakra |
| Thaat | Kalyan |
| Vadi - Samvadi | Dhaivat - Gandhar |
| Time | 2nd Prahar of the Night (9PM to 12AM) |
| Vishranti Sthan | S; D; S'; - S'; D; P; R; |
| Mukhya Ang | P ; G m N D ; D P ; G m P G m R S; |
| Aaroh - Avroh | S G m D ; N D S'; or S G m N D P ; G m D N S' - S' N D P M P D P G m P G m R S; or S' N D P G m R S |
Raag Hameer is a powerful Raag of Veer-Rasa (fills one with enthusiasm and courage of warriors) and is very dynamic. The combinations G M N D ; D D P alone instantly kindle the melodic form.
Employment of Meend and Khatka in arriving at Dhaivat from Nishad adds to tonal beauty. In Hameer, Dhaivat is very powerful and is a Nyas Swar which represents Veer Ras. G m N D ; D D P these are characteristic notes of Hameer. Madhyam Teevra is rendered like: M P G m D.
Uttarang can be started like: G m (N)D N S’ or P D P P S’ or G m D N D S’ or M P D N S’. In Avroh, Gandhar is used in Vakra form like M P G m R S or P G m R S. An occasional deployment of Rishabh in Aaroh is permissible for beautification of the melodic form. For example:R G m D P G m R S. In Avroh, rare deployment of Komal Nishad as a Vivadi Swar is permissible.
This is a Uttarang Pradhan Raag which can be expanded in Madhya and Tar Saptaks. The following combinations illustrate the Raag effectively:
S R R S ; P ; G m P G m R S ; G m N D D P ; G m D N S’ ; P D P P S’ ; G m D N D S’ ; M P D N S’ ; S’ R’ S’ ; N S’ D D P ; S’ N D P ; M P G m R ; P G m R S ;
Raag Hameer Bandishen
All the following bandishen are written and composed by Acharya Vishwanath Rao Ringe ‘Tanarang’ and are published in his book “Acharya Tanarang Ki Bandishen Vol 1”. This book contains the notation and audio of 389 Bandishen from 31 Raags. All these bandishen are sung by Shri Prakash Vishwanath Ringe. For more information and to buy this book, please contact us.
1 | Madhya Lay Khyal - Raj Dulari Radha Taal - Ada Chautal Madhya Lay Theme - Shri Radha | |
2 | Sadra - Maan Le Kahi Mori Taal - Jhaptal Madhya Lay Theme - Roothna Manana, Virah Ras | |
3 | Sadra - Nazar Nahi Aave Mora Pritam Pyara Taal - Jhaptal Madhya Lay Theme - Virah Ras | |
4 | Sadra - Re Harjai Tune Birha Jagayo Taal - Jhaptal Vilambit Theme - Virah Ras | |
5 | Chota Khyal - Kachnar Phooli Madhuban Me Taal - Trital Drut Theme - Spring Season | |
6 | Chota Khyal - Madhuban Phool Rahi Kachnar Taal - Trital Drut Theme - Shri Krishna - Gopiyon ki Vyakulta, Spring Season | |
7 | Chota Khyal - Ulajhan Ko Suljha Jaa Taal - Trital Drut Theme - Sur Sadhana | |
8 | Chota Khyal - Meherban Na Ghar Aaye Ri Taal - Trital Drut Theme - Virah Ras | |
9 | Chota Khyal - Garaj Garaj Ghan Ghumar Taal - Ektal Drut Theme - Rainy Season | |
10 | Chota Khyal - Rasik Man Rijhaye Taal - Ektal Drut Theme - Sur Sadhana | |
11 | Chota Khyal - He Ganraaj Shri Maharaj Taal - Trital Drut Theme - Shri Ganesh | |
12 | Tirvat - Dhir Kit Tkdan Tkdan Tkdan Ta Dha Taal - Ektal Drut Theme - Suitable for Dance | |
13 | Sargam - Ga Ma Dha Dha Ni Sa Re Taal - Trital Drut |