Verse:Irta/Music

One theme (in continental Europe): non-common practice uses of 12edo, 5-limit JI, meantone, or diatonic edo tunings

Azalic music

Azalic music is built up on similar principles to ancient Greek music theory, but they divide string lengths into constructible ratios which aren't always rational. The most common tunings used in Azalic music divide a JI interval, most commonly 2/1, 3/2 or 12/7, into 16 equal parts, and various MOS subsets of these are used for melody, particularly Lemba, Mavila, and Magic temperaments.

Common Mavila scales used in Azalic music are the Antilocrian mode, 3 2 2 3 2 2 2, and the seventh mode of the harmonic minor, 3 2 3 2 2 3 1.

In Irtan cultures outside the Azalic Urheimat but influenced by Azalic culture, 16ed12/7, and its octave equivalent counterpart 41edo, became the most prominent tuning whereas Irta's North Africa (the Azalic Urheimat) mostly uses variations on 16 tone octave equivalent and related scales. Crannish music, which is generally polyphonic, uses harmonic series approximations to 16edo.

Azalic scales directly influenced the music of Irta's Southern United States and Mexico.

Irta Irish classical music

"If Irish/Scottish folk music is the same as in our timeline what would Irish elite music be like"

Irta Irish Renaissance music

Should be a development of sung bardic poetry, with French Renaissance influences

Irish Counter-Remonition

Tuning: Fixed pitch instruments are tuned to 5 to 10 note subsets of 2-3 chains of Pyth fifths separated by 5/4, commas are intentionally used. At some point this is standardized to 34edo

Names for the tuning standard and notes relative to it (like how Arabs don't use all 24 notes of 24edo)

Irta Irish Romanticism

post-2nd Rem

Albionian and folk Irish music influences, Irish lieder are a tradition along with French and Azalic English ones (reaction to excesses of the Counter-Remonition period)

In literature, nature poetry makes a comeback

Remonitionist music

Remonitionist music is an alternate evolution of our Renaissance music. The style that arises from the First Remonition is a neo-medievalism derived from the music of various Italic-speaking cultures, but Second Remonitionist music is much more meditative and chanting/intoned singing-based. European Christian music (except Irish classical music) is the same as in our timeline up to the First Remonitionist Reformation in the 16th c.

Should be heavily influenced by Azalic culture by the end of 2nd Remonition

Irta Baroque

A neo-medievalist movement which develops in France, Spain and Italy, "what if Baroque used 17edo/17wt"

Baroque dance suites in 17edo which use Baroque dance rhythms but not our Baroque harmony; canons and fugues, but not using Fuxian counterpoint

2-part counterpart likes resolving to fifths and uses tons of Machaut cadences (Eb-G -> D-A, Ed-Gt -> D-A, E-G# -> D-A)

Prefers minor and Locrian for diatonic music; 17edo influences Tsarfati Jewish music somewhat too, explaining the use of Locrian in Cualandian Jewish nusachim

John Wellwise /wɛlɪz/ is the counterpoint guy (interpreting "Fuxian" as Mandarin 富賢)

Irta Baroque trends

Bleu temperament often shows up as an attempt to capture an "Azalic" sound in a 17edo framework

Second Remonitionist music

Early Second Remonitionist musical styles are derived from Greek Buddhist chanting and Azalic polyphonic traditions found in Irta, and follows a system of four roughly equal divisions of a perfect fifth. (Incidentally this is very similar to our timeline's Georgian music)

This was the dominant musical practice among Remonitionists who first migrated to Tricin, and the most common musical system among Remonitionists in Cualand is 41edo.

Arabic

No maqam 3ajam in places that use a 17edo-based theory; Irta's maqam 3ajam comes from 5-limit major in Irta Irish theory, often approximated with 34edo

Corsican

Sean-nós style in Arabic maqams, this style is called ānə (cognate to Maltese għana) in Corsican Arabic

New maqams

Some maqams named after Irish or Celtic places or scales in Irta Irish classical music

More maqams with Arabic names like "Rahat Al Arwah"

Irta Irish borrows maqām names (via Corsican Arabic, e.g. Rāhatı alı-Arvēh) and the term megāmı itself, and translates other maqam terms

Tsarfati

Tsarfati music is stylistically halfway between our Ashkenazi music (due to Irta Eastern European music being similar to our timeline's) and Irish folk music.

Before the Tsarfati Enlightenment, rhythmic elements from Irish prosody, such as Scotch snaps, used to be considered a regionalism, because most dialects of An Yidis do not have vowel length. However, during the Tsarfati Enlightenment period, Irta Irish elements including Irish prosody became a trend. This was less strong in areas where Hasidism was popular.

Tuning

Intonation often happens by ear and is not necessarily JI-based (cf. maqam music). Tuning systems used differ by the individual community. Fixed pitch instruments use subsets of 38edo. Neutral intervals are commonly used as in maqam.

Liturgy uses diatonic or maqam modes:

• Torah readings use Mixolydian or Jiharkah
• Haftarot use Aeolian or Nairuz
• Non-Eicha Megillot use Dorian or Rast
  • Esther uses this melody (except parts where the Eicha melody is used): https://www.virtualcantor.com/Esther1.mp3
• Eicha uses Phrygian or Bayati
• Most blessings use the same scales as our Ashkenazim do
• Some blessings and prayers use a tuning of Lydian with a supermajor 3rd

Todo: Cantillation tropes

Folk music

Tsarfati Jewish folk songs are known as טאָנתּאן dontăn in Ăn Yidiș (singular טאָן don; cognate to Irish dán 'poem (among other meanings)'). They may be in Ăn Yidiș or in a macaronic mixture of Ăn Yidiș, Hebrew, and other languages. They have some traditional Hivantish, our timeline's Eastern European, and our timeline's Irish elements but are unique. Like in our timeline, Hasidic Judaism is also an influence with its emphasis on dancing, devotion, and wordless melodies.

Instruments from Gaelic music:

• pib-ilăn - uilleann pipes
• fehăł (from in-universe OIr **fethal, from Early Romance *vitola) - fiddle
• cłorșăch - a version of the Welsh triple harp adapted to common Tsarfati scales (If you say "Jew's harp" in Irta they'd likely think you mean this.)

Instruments from Hivantish music:

• șeyņăł - kantele

Other instruments, often used in larger ensembles:

• harpsichord -- a staple of Irta klezmer
• organ
• tromba marina and horns for harmonic series scales

Modern cłorșăchăn are usually electro-acoustic.

Talma

Hebrew cantillation

Based on oneirotonic, uses modes such as LLLSLSLS, LLSLLSLS, LLSLLSLS, LSLLSLLS, LSLSLSAS, LSLSLLLS, SLSLLSLL, with varying tunings which can change when singing; marimbas are common in synagogues

Cualand

Hebrew cantillation

Cantillation tropes in Cualand are diatonic, LCJI-based, or overtone scale-based. Some melodies use Locrian. Doctrinally Judaism is no more weird than the full range of Rabbinic Judaism in our timeline.

A Cualandian tune for Adon Olam

Carnatic music

Carnatic music in Irta is almost the same as in our timeline, with some differences:

• Songs with Buddhist lyrics?
• Unlike in our timeline, the esraj (held vertically) is used instead of the violin. It is borrowed from North Indian music.
• Some ragas are sung differently, for example Madhyamāvati uses the natural 7th instead of the flat 7th as in our timeline, Bhairavi is consistently sung with the flat 6th, and Ābhogi is sung with a flat 6th instead of a natural 6th.
• There are some ragas not found in our timeline's Carnatic music like Sabhā (an adaptation of maqam Saba) and Desikasrī (adapted from the Hindustani raga Shree).
• Certain ragas like Kharaharapriyā are not as common as in our timeline but others like Dēvāmṛtavarṣiṇi are more common
• Some ragas go by different names from our timeline, like the 21st melakarta is known as Paramanohari instead of Kīravāṇi, and the 32nd melakarta is known as Khagavāhini instead of Rāgavardhini.
• The melakarta system is controversial, unlike in our timeline -- some theorists including ___ Sastri of ___ believe that ragas shouldn't really be analyzed in terms of a fixed scalar framework
• Purely instrumental music is much more common and there is a separate genre of instrumental music which is roughly like Bharatanatyam dance music in our timeline -- this includes wordless varnams and tillanas

72 melakartas in Irta

• Kanakāmbari: C Db Ebb F G Ab Bbb
• Ratnāmbari: C Db Ebb F G Ab Bb
• Gānamūrti: C Db Ebb F G Ab B
• Bhānuvarāli: C Db Ebb F G A Bb
• Mānavati: C Db Ebb F G A B
• Tānāmbari: C Db Ebb F G A# B
• Thānabhairavi: C Db Eb F G Ab Bbb
• Janatōdi: C Db Eb F G Ab Bb
• Dhanabhinnashadjam: C Db Eb F G Ab B
• Nayanāvali: C Db Eb F G A Bb
• Kāyavasantam: C Db Eb F G A B
• Rākāvati: C Db Eb F G A# B
• Gāyakalgada: C Db E F G Ab Bbb
• Vakulābharanam: C Db E F G Ab Bb
• Māyāmālavagaula: C Db E F G Ab B
• Toyavegavāhini: C Db E F G A Bb
• Sarpābharanam: C Db E F G A B
• Hayavāhini: C Db E F G A# B
• Jhankārabhramari: C D Eb F G Ab Bbb
• Narabhairavi: C D Eb F G Ab Bb
• Paramanohari: C D Eb F G Ab B
• Kharaharapriya: C D Eb F G A Bb
• Girivasantham: C D Eb F G A B
• Varunapriya: C D Eb F G A# B
• Sharaavati: C D E F G Ab Bbb
• Charanāvali: C D E F G Ab Bb
• Sarasāngi: C D E F G Ab B
• Harikāmbhoji: C D E F G A Bb
• Dharavelāvali: C D E F G A B
• Nādinalināngi: C D E F G A# B
• Pālasāmanta: C D# E F G Ab Bbb
• Khagavāhini: C D# E F G Ab Bb
• Gaganamanohari: C D# E F G Ab B
• Bhāgeshwaram: C D# E F G A Bb
• Malināmbari: C D# E F G A B
• Chalanāta: C D# E F G A# B
• Sālagam: C Db Ebb F# G Ab Bbb
• Dalābhishekam: C Db Ebb F# G Ab Bb
• Dhālivarāli: C Db Ebb F# G Ab B
• Navavati: C Db Ebb F# G A Bb
• Pāvanasaurāshtram: C Db Ebb F# G A B
• Ravabhūshani: C Db Ebb F# G A# B
• Lavamāruva: C Db Eb F# G Ab Bbb
• Bhavāni: C Db Eb F# G Ab Bb
• Shivapantuvarāli: C Db Eb F# G Ab B
• Shadvidhamārgini: C Db Eb F# G A Bb
• Suvarnāngi: C Db Eb F# G A B
• Devavijayasri: C Db Eb F# G A# B
• Dhavalāmbari: C Db E F# G Ab Bbb
• Nāmanārāyani: C Db E F# G Ab Bb
• Kāmavardhini: C Db E F# G Ab B
• Rāmapriya: C Db E F# G A Bb
• Gamakakriya: C Db E F# G A B
• Vāmanapriya: C Db E F# G A# B
• Shyāmasundari: C D Eb F# G Ab Bbb
• Chāmaram: C D Eb F# G Ab Bb
• Simhavarāli: C D Eb F# G Ab B
• Hemavati: C D Eb F# G A Bb
• Dharmavati: C D Eb F# G A B
• Nītimati: C D Eb F# G A# B
• Yatisāranga: C D E F# G Ab Bbb
• Ratipriya: C D E F# G Ab Bb
• Latāngi: C D E F# G Ab B
• Bhūshavati: C D E F# G A Bb
• Mechakalyāni: C D E F# G A B
• Chittabhūshani: C D E F# G A# B
• Satyavrittam: C D# E F# G Ab Bbb
• Jyotisvarūpini: C D# E F# G Ab Bbb
• Dhātuvardhini: C D# E F# G Ab B
• Nāsāmani: C D# E F# G A Bb
• Kosalam: C D# E F# G A B
• Rasikapriya: C D# E F# G A# B

Primodality

Evolution

Primodality is invented in Cualand. Like in our timeline, primodality is chord-scale theory applied to overtone scales. In Irta, chord-scale theory arises within the Irta Arab maqam tradition (which has a standardized abstract gamut) whereas the original maqam culture survives in other cultures such as Turkic and Corsican music.