Hamir

This is a rag with oblique melodic movements. It can be easily recognised by the characteristic phrase  G m R G m ND -, ending on a sustained Dha with a distinct touch of Ni.

Tone material:  S R G m M P D N

Some characteristic phrases:
S- G m ND –
M P G m R –
ND – N S
D M P G m ND –

Dha is the most important note. The general movement of this rag concentrates more on the upper tetrachord. In the direct ascent natural Ma is used but the descending line is zig zag with both Ma included as S N D P M P G m R S. Generally the sharp Ma is used in conjunction with Pa and Dha – M P D, M D P or D M P.
Most ascending movements commence on Ga (Bhatkhande [KPM II] 1952: 70) and G m R S is invariably used as the concluding movement to return to Sa. This phrase and G m P G m R S, can give impression of rag Kamod. However, proper emphasis on Dha helps to keep Hamir distinct from Kamod.

For more comparison, see Kamod & Kedar.

Time: early night (ibid: 72)

Further listening:
Krishnarao Pandit ECSD 2433
Parrikar on Hamir
Recording by Vilayat Khan

Performance by Ajoy Chakrabarty

Composition: bada khayal

सो हमारी हमारी प्रीत लगी
उन सूरजन सैंयासो
घडी घडी पल छिन
चैन ना अावे

जब हम तुमीसे
यही माँगत हैं
देवो री दरस अाज मन भावे

I am in love and feel utterly restless without him. Therefore I desperately beg him to come and delight me with his presence.

Tal: Jhumra (slow tempo)

Performance:
4-9: The opening phrase unambiguously announces the rag with a typical phrase -G m R G m ND –
15-21: Appealing interplay between Dha and Ni, returning to Pa. Note a touch of sharp Ma for Pa (19)
27-32: Another characteristic phrase – M D P G m R
36-40: Variation of the above, also ending with G m R
52-67: Movements towards middle Ni, returning to Pa
68: The composition has refrain with the characteristic phrase- G m R G m ND – and the accentuated beat (sam) of the 14 beat rhythmic cycle coincides ND
130: Second line
168-247: The composition is repeated with some variations. Note an unusual glide between the middle Ni and Re (186)
251: Elaborations in the upper middle octave using words of the composition (bol alap), followed by holding the high Sa, leading to the second part of the composition
279: Second part of the composition (antara)
328-388: Return to the main line of the composition followed by more elaborations in the upper middle and high octaves
390-406: Movements using solfeggio (sargam). The Patiala gharana (style), to which Ajoy Chakrabarty belongs, is known for such sargam singing