Zompist Bboard Again

Uta:

Hasumi sû no yo,
Iryowa, bayu niyo,
Chichiki ototono.

/útà/ | [ʉ́ᵝˑ.t̪ʰɐ̞̀]

/há.sú.mì sûː nò jó/ | [hɐ̞̀.s̪ʉ́ᵝˑ.mᶣì s̪ʉ̂ᵝː n̪ò̞ᵝ jó̞ᵝˑ]
/í.rjó.wà | bá.jù ní.jò/ | [í.ɾ̪ʲi̯ó̞ᵝˑ.ʋɐ̞̀ | bɐ̞́ˑ.jỳᵝ ɲíˑ.jò̞ᵝ]
/cɕí.cɕí.kì ó.tó.tó.nò/ | [cɕʰí.cɕʰíˑ.kʰì ó̞ᵝ.t̪ʰó̞ᵝ.t̪ʰó̞ᵝˑ.n̪ò̞ᵝ]

Poem:

Misty moonlight night,
Ashen incense, changing leaves,
Cricket concertos.

- 霞美(はすみ; archaic: がすみ) hasumi - "mist"; the spelling is somewhat fanciful, 霞 "mist" + 美 "loveliness, splendour", etymologically a nominalisation of the root of the verb 霞む(はすむ; arch.: がすむ; upper quadrigrade) "cloud over, mist over, become obscure, be murky".
- 陰(すふ; archaic つぐ or すぐ) sû - "moon", the archaic spelling suggests the word was originally tsuhu or tsugu, probably an ancient interdialectal borrowing, cognate with 月(つく) tsuku - "month"; the shift of /ts/ > /s/ before /uː/ and /ui/ is regular, but affects only a few words.
- の no - here, particle adjoining a descriptive clause to a nominal; also used to mark the nominative of subordinate clauses, and with indefinite nouns in some copular expressions.
- 晩(よ) yo - "night, dark period of night following evening"
- 色葉(いりよふわ) irowa - "leaves changing in autumn, coloured leaves"; standalone elements 色(いりよ) iryo, 葉(ふわ) fa (cf. Nih. 色 iro, 葉 ha)
- 灰(ばふゐ) bayu - "ash, smell of ash or burning" (cf. Nih. 灰 hai)
- 薫(にほ) niyo - "incense, perfume" (cf. Nih. 匂い nioi)
- 蟋(ききくゐ) chichiki - "cricket", probably imitative;
- 音楽 ( おとうとうの) ototono - "(somewhat old-fashioned) music; (usually now) a grand musical performance"; (cf. Nih. 音楽 ongaku)

Uta:

Ksûmi sû no jo
Yôwa baju jiyo
Chichik otôno

/ú.tà/ | | [ʉ́ᵝˑ.t̪ʰɐ̞̀]
/ksúː.mì sû nò ɟ͡ʑó/ | [k͡s̪ʰʉ́ᵝː.mᶣì s̪ʉ̂ᵝː n̪ò̞ᵝ ɟ͡ʑó̞ᵝˑ]
/jóː.wà bá.ɟ͡ʑù ɟ͡ʑí.jò/ | [jó̞ᵝː.ʋɐ̞̀ | bɐ̞́ˑ.ɟ͡ʑỳᵝ ɟ͡ʑíˑ.jò̞ᵝ]
/cɕí.cɕìk òt.tód.nò/ | [cɕʰíˑ.cɕʰìkʰ òᵝ.tʰó̞ᵝː.n̪ò̞ᵝ]

This one is mentioned briefly in a story, and the narrator, speaking a more "correct" variety of Ineshîmé, remarks having trouble understanding it because it was missing sounds and could not seem to remember where it had lost them (paraphrasing the perception of the narrator, who is very young at the time). The Tournesol language was not affected by any major vowel shifts, but underwent some radical shifts to its pitch accent, notably initially dispreferring sequences of two syllables with the same pitch in trimoraic words (Early Ineshîmé /hásúmì/ became /hàsúmì/), but with tetramoraic words preferring a high-high-low-low pattern (Early Ineshîmé /ótótónò/ appears to have become /ótótònò/), followed by a purging of low-pitched vowels, frequently with compensatory lengthening of what preceded, or what followed if the loss was of an initial mora (whence /hàsúmì/ > /ksúːmì/), except that some clusters would block certain losses. Sequences of two consonants also seem to have produced either gemination (of stops and fricatives) or loss with compensatory lengthening (before nasals).

A few consonant shifts, notably voicing of stops in contact with following nasals (presumably with loss of voiced stops in that position previously, with compensatory lengthening, though the sample provides no examples of this) [ɲ j] merging into [ɟ͡ʑ], except where perceived as an excrescence from a preceding [i], also occurred, followed presumably by the simplification of /rj/ to /j/.

Some lexical items are also different, which the then-child narrator wouldn't have recognised, notably the first-person pronoun 我た (Early Ineshîmé /wátà/, Tournesol /wáːt/) had survived, and become the standard first-person singular, and a formerly polite form 我た方 (Early Ineshîmé /wátàgátá/; Early Tournesol /wátkátà/, later /wàkkáːt/), but shifting to more facetious or friendly use, had retained some currency. This variety isn't otherwise very fleshed-out, but I felt the need to make some note of its existence. The pronominaliser /re/ and pluraliser /ra/ could be optionally added; the resulting cluster /tr/ simplifying to /d/, but the vowel being preserved — 我たれ /wáː.dè/; 我たら /wáː.dà/.