Verse:Irta/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 and called the ravaka, etymologically related to rabab with the same random sound change that produced European rebec) is used instead of the violin. It is borrowed from North Indian music.
• There are some ragas not found in our timeline's Carnatic music like Sabhā (an adaptation of maqam Saba), Śikhā (an adaptation of Sikah) and Desikasrī (adapted from the Hindustani raga Shree).
• Certain ragas like Kharaharapriyā are not as common as in our timeline but others like Ghaṇṭa, Kalgaḍa and Dēvāmṛtavarṣiṇi are more common
• Some ragas go by different names from our timeline, like Desikabhairavi instead of Sindhubhairavi.
• 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. 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

Raga differences

• Madhyamāvati uses the natural 7th instead of the flat 7th
• Bhairavi is consistently sung with the flat 6th
• Ābhogi is sung with a flat 6th instead of a natural 6th
• Vasanta and Lalita are sung with the flat 3rd
• Bb A Bb C (Bb)Ab, G is a phrase used in Dhanyāsi in Irta but not in our timeline
• Mohanam is sung in a more folksy style (like our timeline's Pahadi) and has more chromatic variations, A G# A E D# E D C# D is a common phrase; conversely Kapi and Shivaranjani are considered heavy ragas and are sung in a classical style

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

Rhythm

Carnatic music in Irta is organized around a tala system very similar to our timeline's, except that some talas are much more common including the 12 beat Caturashra jāti ata tāla and more complex cycles like the 23 beat Mishra jāti dhruva tāla.

Composers

• A 16th century composer who was influenced by North Indian music and Buddhism
  • The melakarta system hadn't been discovered then
  • Invented the fretted veena, influenced by the sitar (might actually have been the first veena in Irta's Carnatic music? previously veenas and tamburas were one and the same and were played with a slide)
• ___ Sastri, famous for challenging the melakarta system