Raag Hamirहमीर
Sourced · not yet reviewed by a musician
Kalyan thaat · Sampurna (vakra; directional counts unspecified) · Early night
- Sunset
- Early night
- Night
Swaras and phrases
Tap a lit note to hear it · Synthesized for study — not a recording
- ArohaArohaA raag’s ascending note movement in a teaching outline. It is read alongside descending movement and characteristic phrases.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary
- Sa Ga Ma Dha Ni Dha Sa'
Source: Artium Academy +2
- Artium Academy, Raag Hameer page, aroha
- Darbar, Aaroh (ascent):
- Online Sangeet, Important notes / ascent omitting Pancham
- 3 of 4 sources agree
- AvarohaAvarohaA raag’s descending note movement in a teaching outline. It may use notes or turns differently from the ascent.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary
- Sa' Ni Dha Pa Ma♯ Pa Ga Ma Re Sa
Source: AUTRIM +1
- AUTRIM, Hamir page, description
- Raga Junglism, Melodic summary / Avroh:
- Sources split 2–2Other version, 2 sources:Sa' Ni Dha Pa Ma♯ Pa Dha Pa Ga Ma Re Sa
- PakadPakadA characteristic note phrase that helps identify a raag. A pakad is a useful cue to identity, rather than a substitute for learning the raag’s wider movement.Source: N2 §2.2.5, p. 17.More in the glossary
- Sa - Ga Ma Ni Dha; Ma♯ Pa Ga Ma Re; Ni Dha Ni Sa; Dha Ma♯ Pa Ga Ma Ni Dha
Source: AUTRIM
- AUTRIM, Hamir page, characteristic phrases
- 3 versions in 3 sources
About Hamir
Hamir stresses Dha and works mostly in the upper tetrachord. The direct ascent uses shuddhaShuddhaThe unmodified form of a swara in Hindustani teaching. Re, Ga, Ma, Dha and Ni can also have specified altered forms.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ma, and the descent bends through both forms of Ma and often returns through Ga Ma Re Sa.
Source: AUTRIM +3
Also called Hameer.
Source: Artium Academy
- Artium Academy, Raag Hameer page, title
How it moves
AUTRIM says most rising phrases begin on Ga, and the direct ascent uses shuddhaShuddhaThe unmodified form of a swara in Hindustani teaching. Re, Ga, Ma, Dha and Ni can also have specified altered forms.Source: N1 §1.7, pp. 4–5. and 1 moreMore in the glossary Ma.
Source: AUTRIM
- AUTRIM, Hamir page, description
Learner focus
Stress Dha, and tell the two forms of Ma apart in the descent.
Source: AUTRIM
- AUTRIM, Hamir page, description
Caution
Ga Ma Re Sa and Ga Ma Pa Ga Ma Re Sa can sound like Kamod. A clear stress on Dha keeps the raag Hamir.
Source: AUTRIM
- AUTRIM, Hamir page, description
Study prompts
Short exercises that restate what the cited sources say.
- Sing Sa Ga Ma Ni Dha and hold the Dha.
- Sing the descent Sa' Ni Dha Pa Ma(tivra) Pa Ga Ma Re Sa.
- Ga Ma Re Sa can suggest Kamod. Sing it after a strong Dha to keep the phrase in Hamir.
Based on: AUTRIM +2
- AUTRIM, Hamir page, characteristic phrases
- AUTRIM, Hamir page, description
- Raga Junglism, Melodic summary / Avroh:
How the sources vote
Each field shows the version most independent sources agree on. One publisher counts once.
- ThaatAll 3 sources agree
- Jati2 of 3 sources agree
- Time3 of 4 sources agree
- Aroha3 of 4 sources agree
- AvarohaSources split 2–2
- Pakad3 versions in 3 sources
- VadiAll 3 sources agree
- SamvadiAll 3 sources agree
Similar raags named by the sources
Film songs
Film songs where a checked source names Hamir. Each song shows whether a musician has reviewed it yet.
Archive recordings
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Stories
Short accounts from the cited sources, paraphrased. Each line says whether it is documented, a named person's account, or uncertain.
Naushad names Hamir
In his 1987 interview with Nasreen Munni Kabir, Naushad identified Hamir as the raagRaagA recognisable arrangement of notes and musical behaviour that guides melody. A raag’s identity involves how notes are used, not just a list of pitches.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary of Madhuban Mein Radhika Naache Re. The published transcript shortens the title to Radha; the local register preserves this as the composer's statement.
As told by Naushad, interviewed by Nasreen Munni Kabir on 3 May 1987; edited, translated highlights published in Seminar 741 (2021) · Source: Paragraph beginning So I composed a song; register A01, Madhuban Mein Radhika connection and transcript-title note
Sources for this profile
ThaatThaatA seven-note parent scale used to group Hindustani raags in Bhatkhande’s classification. A thaat is a classification aid rather than a complete raag to perform.Source: N2 §2.1, pp. 14–15; §2.2.1, p. 15. and 1 moreMore in the glossary, jatiJatiA classification of a raag by its note counts in ascent and descent. Audav means five, shadav six and sampurna seven; the two directions can have different counts.Source: N2 §2.2.2, p. 16.More in the glossary, time, vadiVadiThe leading swara in a named raag teaching description. It helps explain note emphasis within that interpretation.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary, samvadiSamvadiThe swara ranked next to vadi in a named teaching account. The pair helps describe the raag’s note hierarchy.Source: N2 §§2.2.6–2.2.9, pp. 17–18.More in the glossary, arohaArohaA raag’s ascending note movement in a teaching outline. It is read alongside descending movement and characteristic phrases.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary, avarohaAvarohaA raag’s descending note movement in a teaching outline. It may use notes or turns differently from the ascent.Source: N2 §§2.2.3–2.2.4, pp. 16–17; §2.3 answer 1, p. 19; glossary entries 2–3, p. 20 (correcting the apparent ‘Avroha’ typo in §2.2.3).More in the glossary and pakadPakadA characteristic note phrase that helps identify a raag. A pakad is a useful cue to identity, rather than a substitute for learning the raag’s wider movement.Source: N2 §2.2.5, p. 17.More in the glossary show the version the most independent publishers print; the sources page lists every version and who prints it. Other facts follow the source cited beside them. No musician has reviewed this profile yet.
- Hamir: raag profileMusic in Motion: AUTRIM (NCPA and University of Amsterdam) · cited as AUTRIMRaag profile written by Suvarnalata Rao with Wim van der Meer. Accessed 7 October 2026. Located by line in the saved page text; paraphrased.
- Raag HameerArtium Academy · cited as Artium AcademyA private music academy's raag page. Its terms reserve reproduction, so it is cited and paraphrased only. Accessed 7 October 2026.
- Hameer - DarbarDarbar Arts Culture Heritage Trust · cited as DarbarRobots permits public raga pages; /tos reviewed (C-DARBAR-robots.txt, C-DARBAR-terms.txt). Copyright retained. Factual field transcriptions and cited paraphrases only; complete page evidence is local audit material, not for publication. Accessed 17 October 2026.
- Hameer Raag Bandish 16 Matras Allap Taan Music Notes In EnglishOnline Sangeet · cited as Online SangeetRobots allows public articles and excludes /wp-admin/ (C-ONLINESANGEET-robots.txt). Public footer/privacy policy reviewed; no separate terms link or automated-access restriction found there. No open licence assumed. Use cited factual data/paraphrases; full fetched page remains local audit evidence. Accessed 17 October 2026.
- Music and Dance Knowledge / Information: Hindustani raag profilesDivya Music · cited as Divya MusicMusic school's raag notes. No open licence: cited and paraphrased only. Accessed 7 October 2026.
- Hameer | SRGmMPDNS | Hindustani Raga Index | 365+ RagasGeorge Howlett / Raga Junglism · cited as Raga JunglismRobots checked: public /ragas/<name>/ pages allowed; filter-result paths excluded. About page describes open-access noncommercial musicology (C-RAGAJUNGLISM-about.txt); no redistribution licence assumed. Factual fields and short cited paraphrases only. Attributed borrowed material is flagged per statement. Accessed 17 October 2026.
- Vocal Music syllabus: Prarambhik to BhushanPracheen Kala Kendra · cited as PKKOfficial examination syllabus. It shows the year a raag is prescribed, not how the raag is sung. Accessed 7 October 2026. Located by printed page.