Sinarabian comma: Difference between revisions

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The name of this comma comes from a portmanteau of "Ibn Sina" and "Alpharabian", and was given by [[Aura]] on the basis of a series of connections between intervals that he found and shared with [[Margo Schulter]], who took note of the following implications, here paraphrased in part by Aura.

One of the major commatic relations is between the rastma (243/242) on one hand, which occurs in the tuning of the mode of Zalzal by [[Wikipedia: al-Farabi|al-Farabi]] (c. 870-950) as the distinction between his steps of [[12/11]] (150.637c) and the smaller 88/81 (143.498c), and, on the other hand, the major minthma (352/351, 4.925c) described by [[Wikipedia: Avicenna|Ibn Sina]] (c.980-1037) in noting the "resemblance" between certain complex superpartient ratios and nearby simpler superparticular ratios, e.g. 128/117 (155.562c) and the simpler 12/11, or 88/81 and the simpler 13/12 (138.573c). These comparisons relate to the adjacent intervals included in the [[~~tetrachords~~]] al-Farabi and Ibn Sina favor to realize the 'oudist Mansur Zalzal's tuning favoring a middle third:

One of the major commatic relations is between the rastma (243/242) on one hand, which occurs in the tuning of the mode of Zalzal by [[Wikipedia: al-Farabi|al-Farabi]] (c. 870-950) as the distinction between his steps of [[12/11]] (150.637c) and the smaller 88/81 (143.498c), and, on the other hand, the major minthma (352/351, 4.925c) described by [[Wikipedia: Avicenna|Ibn Sina]] (c.980-1037) in noting the "resemblance" between certain complex superpartient ratios and nearby simpler superparticular ratios, e.g. 128/117 (155.562c) and the simpler 12/11, or 88/81 and the simpler 13/12 (138.573c). These comparisons relate to the adjacent intervals included in the [[tetrachord]]s al-Farabi and Ibn Sina favor to realize the 'oudist Mansur Zalzal's tuning favoring a middle third:

Al-Farabi:

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 The name of this comma comes from a portmanteau of "Ibn Sina" and "Alpharabian", and was given by [[Aura]] on the basis of a series of connections between intervals that he found and shared with [[Margo Schulter]], who took note of the following implications, here paraphrased in part by Aura.
-One of the major commatic relations is between the rastma (243/242) on one hand, which occurs in the tuning of the mode of Zalzal by [[Wikipedia: al-Farabi|al-Farabi]] (c. 870-950) as the distinction between his steps of [[12/11]] (150.637c) and the smaller 88/81 (143.498c), and, on the other hand, the major minthma (352/351, 4.925c) described by [[Wikipedia: Avicenna|Ibn Sina]] (c.980-1037) in noting the "resemblance" between certain complex superpartient ratios and nearby simpler superparticular ratios, e.g. 128/117 (155.562c) and the simpler 12/11, or 88/81 and the simpler 13/12 (138.573c).  These comparisons relate to the adjacent intervals included in the [[tetrachords]] al-Farabi and Ibn Sina favor to realize the 'oudist Mansur Zalzal's tuning favoring a middle third:
+One of the major commatic relations is between the rastma (243/242) on one hand, which occurs in the tuning of the mode of Zalzal by [[Wikipedia: al-Farabi|al-Farabi]] (c. 870-950) as the distinction between his steps of [[12/11]] (150.637c) and the smaller 88/81 (143.498c), and, on the other hand, the major minthma (352/351, 4.925c) described by [[Wikipedia: Avicenna|Ibn Sina]] (c.980-1037) in noting the "resemblance" between certain complex superpartient ratios and nearby simpler superparticular ratios, e.g. 128/117 (155.562c) and the simpler 12/11, or 88/81 and the simpler 13/12 (138.573c).  These comparisons relate to the adjacent intervals included in the [[tetrachord]]s al-Farabi and Ibn Sina favor to realize the 'oudist Mansur Zalzal's tuning favoring a middle third:
 Al-Farabi: