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Raag Hameer


Swaras Rishabh & Pancham forbidden  (varjya) in Aaroh, Both Madhyam, rest all Shuddha Swaras
Jati Audhav - Sampurna Vakra (occasional deployment of komal Nishad n in Avroh)
Time (9 PM - 12 Night) : 2nd Prahar of the Night : Ratri ka Dwitiya Prahar
Vishranti Sthan S D S' - S' D P R
Mukhya-Ang P - G m ND s - D P - G m P G m SR S
Aaroh S G m ND - N D S'
Avroh S' N D P - M P D P - G m P G m R S

Vishesh : This is a powerful melody of Veer-Rasa (fills one with enthusiasm & courage of warriors) and is very dynamic. The combinations G M ND - D D P alone instantly kindle the melodic form. The notes bear a strong Shadja-Pancham relationship in 13 Shruti-span consonance called Shadja-Pancham Bhav e.g. S-P - R-D - G-N - M-S'.
The much quoted and misused framework of Vadi-Samvadi notes in a Raag is not effective in Raag delineation and besides the Mukhya Ang the S-P , S-M & P-R , R -P Bhavas are more powerful in this respect.
Employment of Meend and Khatka in arriving at Dhaivat from Nishad adds to tonal beauty. The following combinations illustrate the Raag effectively.
R R S - P - G mP G m R ,N S - R S G m ND D P - PM DP MP G m R - R G m D P G m R S - G m ND N s D - D N S' - S'R' S's D D P G mP G m R S.
R G m D P G m R S In such fashion an occasional deployment of Rishabh in Aaroh is permissible for beautification of the melodic form.