Theory

The Background

Music systems in the world can be broadly classified as Melodic (those specialising only in successive notes) or Harmonic (those employing simultaneous combinations of notes). This is not to imply that harmonic systems are devoid of melody or melody-centric systems have zero harmony. It means that they are centered around melodic or harmonic approaches.

Highly evolved systems of each type have very well defined rules. For instance, Indian, Persian and Chinese music have been built upon millennia of intricately organised melodic principles while Western Classical and Jazz are examples of highly developed systems employing Harmony.

While each of these sounds very good when presented by top artistes or orchestras, it is not uncommon to see people used to harmony finding melodic systems uni-dimensional. Likewise, those used to melodic systems which deal in rigorous rules of scale, sequence, ornamentation for each of their scales/mode (ragas) often find notes or chords that are 'outside' a scale/mode.

Video 1, in which Steve Kurr (Conductor of Middleton High School Orchestra, WI) employs conventional techniques centered on Western triadic harmony to write parts for a section of a traditional Indian Carnatic piece in raga Kalyani (which uses the same basic notes as the Lydian-mode). This approach illustrates an important area of divergence between the melodic and harmonic approaches. The very first triad (built on the tonic) C-E-G (Indian notes - Sa-Ga-Pa) is a combination that would be inappropriate for the raga Kalyani successively or simultaneously, even though all three are present in the raga.

The Solution

Melharmony aims to address literally thousands of such issues, choose appropriate or alternate chord or counterpoint options and create music with fidelity to both melodic & harmonic approaches (Video 2). The solution often lies in going around or beyond the triad since even fundamental concepts of Perfect & Imperfect Consonances and Dissonances can vary culturally. For instance, the 4th is considered a Perfect Consonance in Indian Classical but Dissonant in Western Classical. A composer has to be aware of these perspectives while attempting to melharmonise a given line of music.

The principles of Melharmony rest on very sound theory which is anchored by a simple tenet - create chords or counterpoints bringing out the spirit of the mode (raga) involved. Any student or composer already cognizant of fundamental principles of harmony would be able to create music by combining principles of a well-defined melodic system which starts with an intimate acquaintance with the basic features and spirit of a given mode. Conversely those familiar with melodic systems will be able to create vertical layers of music studying essential principles and techniques of harmony.

In the case of highly evolved melodic 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.

Melodic aspects

A few important aspects involved in giving a distinctive feel to a given raga include:

Scale: Notes used in the raga that enable a Carnatic raga to be classified under one or more of a possible 72 parent ragas (mela-kartas).
Sequence: Specific to both ascending and descending scale patterns. This is a very fundamental aspect of a raga that composers must be well aware of, since even a minute change in the sequence can mean a different raga. The audio example will demonstrate the sequence from Raga Janaranjani.

Hierarchy of the notes: Many ragas have certain notes that are dominant, notes with development potential as also 'touch me not' notes in which phrases cannot begin and/or end.
Typical ornamentation: Again, each raga has well defined rules of what notes can be rendered plain or with movement or micro-tonal variation depending on the context. In the South Indian Carnatic system, oscillation of a note is a major ornamentation that is in fact the lifeline of some ragas. Composers seeking to use Carnatic ragas will find it most rewarding to acquaint themselves with some of these principles.
Key phrases: Since Melharmony aims to bring out the beauty of the raga, one must be aware of the ways in which a raga can be made to come alive in the course of a composition. The classical approach to ragas in India have been focussed on revealing the raga from the very first phrase. Even an awareness of 10-12 key phrases of a raga will go a long way in enabling a composer to feel the pulse of the raga and create quality compositions in those.

Examples

A glimpse of the harmonic approach

Over the last few decades, composers from diverse cultures have attempted 'raga-based' compositions having made efforts to learn scales from both South and North Indian music, employing conventional techniques like triadic harmony, ostinato, imitation etc. This video shows a few of such important techniques employed in the West to create multiple parts, which could be of great use to students and practitioners of melodic systems. who are not familiar with harmony.

Essence of melharmony - combining the melodic and harmonic approaches

Melharmony dictates that these two approaches be taken into consideration at all times. Since scale is common to both systems, the other four melodic aspects listed above need to be studied well and combined with conventional techniques of harmony. Careful choices need to be made as to which chords or counterpoints or note-combinations will work for both systems.

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.