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Tags: Mobile edit Mobile web edit |
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| [[File:Adon Olam Cualandian.png|thumbnail|A Cualandian tune for Adon Olam|450px]] | | [[File:Adon Olam Cualandian.png|thumbnail|A Cualandian tune for Adon Olam|450px]] |
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| ==Carnatic music==
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| Carnatic music in Irta is almost the same as in our timeline, with some differences:
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| *Songs with Buddhist lyrics?
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| *Unlike in our timeline, the esraj (held vertically) is used instead of the violin. It is borrowed from North Indian music.
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| *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.
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| *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).
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| *Certain ragas like ''Kharaharapriyā'' are not as common as in our timeline but others like ''Dēvāmṛtavarṣiṇi'' are more common
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| *Some ragas go by different names from our timeline, like ''Desikabhairavi'' instead of ''Sindhubhairavi''.
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| *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
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| *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 ''varnam''s and ''tillana''s. Some of the simpler ones (which do not involve chords and have a small range) are even taught as "vocalise" pieces. Instrumental music is generally technically much more complex and sometimes, pieces are written for very specific instruments (e.g. veena music would be written differently from esraj music). Unlike in our timeline, instrumental concerts do not consist solely of transcriptions of vocal music
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| ===72 melakartas in Irta===
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| *Kanakāmbari: C Db Ebb F G Ab Bbb
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| *Ratnāmbari: C Db Ebb F G Ab Bb
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| *Gānamūrti: C Db Ebb F G Ab B
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| *Bhānuvarāli: C Db Ebb F G A Bb
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| *Mānavati: C Db Ebb F G A B
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| *Tānāmbari: C Db Ebb F G A# B
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| *Thānabhairavi: C Db Eb F G Ab Bbb
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| *Janatōdi: C Db Eb F G Ab Bb
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| *Dhanabhinnashadjam: C Db Eb F G Ab B
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| *Nayanāvali: C Db Eb F G A Bb
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| *Kāyavasantam: C Db Eb F G A B
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| *Rākāvati: C Db Eb F G A# B
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| *Gāyakalgada: C Db E F G Ab Bbb
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| *Vakulābharanam: C Db E F G Ab Bb
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| *Māyāmālavagaula: C Db E F G Ab B
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| *Toyavegavāhini: C Db E F G A Bb
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| *Sarpābharanam: C Db E F G A B
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| *Hayavāhini: C Db E F G A# B
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| *Jhankārabhramari: C D Eb F G Ab Bbb
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| *Narabhairavi: C D Eb F G Ab Bb
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| *Paramanohari: C D Eb F G Ab B
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| *Kharaharapriya: C D Eb F G A Bb
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| *Girivasantham: C D Eb F G A B
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| *Varunapriya: C D Eb F G A# B
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| *Sharaavati: C D E F G Ab Bbb
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| *Charanāvali: C D E F G Ab Bb
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| *Sarasāngi: C D E F G Ab B
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| *Harikāmbhoji: C D E F G A Bb
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| *Dharavelāvali: C D E F G A B
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| *Nādinalināngi: C D E F G A# B
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| *Pālasāmanta: C D# E F G Ab Bbb
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| *Khagavāhini: C D# E F G Ab Bb
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| *Gaganamanohari: C D# E F G Ab B
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| *Bhāgeshwaram: C D# E F G A Bb
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| *Malināmbari: C D# E F G A B
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| *Chalanāta: C D# E F G A# B
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| *Sālagam: C Db Ebb F# G Ab Bbb
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| *Dalābhishekam: C Db Ebb F# G Ab Bb
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| *Dhālivarāli: C Db Ebb F# G Ab B
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| *Navavati: C Db Ebb F# G A Bb
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| *Pāvanasaurāshtram: C Db Ebb F# G A B
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| *Ravabhūshani: C Db Ebb F# G A# B
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| *Lavamāruva: C Db Eb F# G Ab Bbb
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| *Bhavāni: C Db Eb F# G Ab Bb
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| *Shivapantuvarāli: C Db Eb F# G Ab B
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| *Shadvidhamārgini: C Db Eb F# G A Bb
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| *Suvarnāngi: C Db Eb F# G A B
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| *Devavijayasri: C Db Eb F# G A# B
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| *Dhavalāmbari: C Db E F# G Ab Bbb
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| *Nāmanārāyani: C Db E F# G Ab Bb
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| *Kāmavardhini: C Db E F# G Ab B
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| *Rāmapriya: C Db E F# G A Bb
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| *Gamakakriya: C Db E F# G A B
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| *Vāmanapriya: C Db E F# G A# B
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| *Shyāmasundari: C D Eb F# G Ab Bbb
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| *Chāmaram: C D Eb F# G Ab Bb
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| *Simhavarāli: C D Eb F# G Ab B
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| *Hemavati: C D Eb F# G A Bb
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| *Dharmavati: C D Eb F# G A B
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| *Nītimati: C D Eb F# G A# B
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| *Yatisāranga: C D E F# G Ab Bbb
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| *Ratipriya: C D E F# G Ab Bb
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| *Latāngi: C D E F# G Ab B
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| *Bhūshavati: C D E F# G A Bb
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| *Mechakalyāni: C D E F# G A B
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| *Chittabhūshani: C D E F# G A# B
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| *Satyavrittam: C D# E F# G Ab Bbb
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| *Jyotisvarūpini: C D# E F# G Ab Bbb
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| *Dhātuvardhini: C D# E F# G Ab B
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| *Nāsāmani: C D# E F# G A Bb
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| *Kosalam: C D# E F# G A B
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| *Rasikapriya: C D# E F# G A# B
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| == 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. |