Raag Hameer-Indian Music theory tips for vocalists

Raag Hameer importance in Indian Music theory and special tips for vocalists

indian-music-theory-raag-hameer

Raag Hameer:

 

Kalyan Thaat has many sweet Raags and Raag Hameer is one of them. This is the Sampuran Raag (7 notes) of Kalyan Thaat. Its wadi note is Pa(G) but some pandits believe that Daywat (note A) is the wadi note of this Raag, infact more stress is given on this note while playing.

In Arohi of this Raag, note Nee (B) is weak or less used whereas in its Amrohi note E (Ga) is weak or less used. The style of this Raag is Vikar (which means not in sequence) the notes are not played in sequence, as mentioned below:-

Sa-Ne-Dha-Paa-Ga-Ma-Re

Remember if we play all notes in sequence it will become Raag Aiman or Bilawal. The special melody or Taan of this Raag is Ga-Ma-Dha.

Some Music Scholars say, this Raag is combination of Kalyan, Aiman and Kidara.

Note “D” (Re) is Vikar (not played in sequence).

In Amrohi of this Raag, the constant combination of notes Ma (F) and Dha (A) looks marvellous and leave magical effect on the listeners.

For the knowledge of students, a simple formation or melody is being mentioned below:-

Sa-Ga-Ma-Dha, Ne-Dha-Pa, Ga-Ma-Dha-Pa-Ga-Sa-Re-Ga-Ma-Dha-Dha-Pa

All students that are learning Indian music must know the importance of Raags and Rhythms. Unless the student grasps enough knowledge to know about the notes of Raags, he can never be a good vocalist. Similar Rhythm is most important and it must be known by every vocalist that no Indian melody can be presented or composed without Rhythm. We will surely discuss about Rhythms in our next few articles.

Our main ambition and wish is to equit every student with all the basic techniques to be a better performer.

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