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Verse:Irta/Music: Difference between revisions
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*Shadvidhamārgini: C Db Eb F# G A Bb | *Shadvidhamārgini: C Db Eb F# G A Bb | ||
*Suvarnāngi: C Db Eb F# G A B | *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 == | == Primodality == | ||
=== Evolution === | === 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. | 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. | ||