Melharmony is not merely a new age musical experiment; it is an aesthetic experience that has delighted thousands across the world.
One of the main reasons for this is that melharmony endeavours to create a middle ground between the horizontal melodic approach and the vertical harmonic approach. The melharmonic approach can extend the horizons of composers of classical as well as popular and film cultures.
The distinctive melharmonic approach takes into consideration many vital melodic factors that are often overlooked in most raga-based fusion compositions of classical as well as popular and film composers.
Ravikiran pioneered original compositions as well as melharmonic arrangements based on works of master Indian classical composers such as Tyagaraja (1767-1847), Oottukkadu Venkata Kavi (1700-65) and Muttuswami Dikshitar (1775-1835) for various types of performances including:
Many of these pieces are flavoured with exciting rhythmic patterns often in attractive modes/scales novel in the West but based on Indian ragas like Hamsadhwani, Nattai, Dhavalambari and Janaranjani.
Other composers who have composed melharmonic works include Robert Morris and Polivios. (See Video)
While any two systems of music are going to be distinctive from one another, one of the most important facets of Melharmonic philosophy is that often, even seemingly disparate systems have more similarities than what may be imagined. If composers, musicians and listeners can explore and enjoy the beauty of the similarities as a starting point, the distinctions between systems not only be often surmountable but will seem exciting and colourful.
Obvious similarities between most systems are:
Examples of non obvious similarities between say Western and (South Indian) Carnatic are:
Certain vital differences between the above systems include:
It is essential even for quality composers of harmony to be aware of the intricate melodic approach in evolved systems like Indian Classical. Melharmony dictates that a composition based on a well-defined raga not only features chords and harmonies drawn only from notes permitted in the raga, but also highlights the sequence, structure and typical ornamentation that bestow the raga its unique individuality and identity. In this manner it is distinct from simple diatonic harmony that takes care of only the scale but not the other aspects associated with a raga.
A few important aspects involved in giving a distinctive feel to a given raga include:
However, Melharmony does not merely act as a subset of possible chords or harmonies within a raga. It also explores new harmonic possibilities for composers with its melody-centric demands. Thus, it does not impose limitations on a composer but opens up exciting new possibilities.
A glimpse of the harmonic approach
It is essential for even composers skillful melody not familiar with Western harmonic approach to develop at least a working knowledge about it to be able to create melharmonic compostions of good quality.