| Safi
al-Dîn divides the intervals he explains up to now into three parts;
grand, middle and small. |
| |
| 1.
Large Intervals: Two octaves, octave and pentachord, octave and tetrachord
and octave intervals. |
| 2.
Middle Intervals: Pentachord and tetrachord intervals. |
| 3.
Small Intervals: The intervals out of going on like 5/4, 6/5 and 7/6 …
He calls the small intervals as "lahnî" (melodic) and he
divides them into three in itself. |
| a.
Large lahnî intervals; 5/4,6/5, 7/6 ratios intervals. |
| b.
Middle lahnî intervals; 8/7, 9/8, 10/9 ratios intervals. |
| c.
Small lahnî interval; the intervals starting with 11/10 and going
on. |
| |
| Compared
to the performers of his period, Safi al-Dîn points out that lahnî
intervals are divided into three. These are the extra intervals the biggest
of which is 9/8, middle one is 14/13 and the smallest one is 256/243. He
claims that all consonant melodies are made up of these three. Because the
other lahnî intervals look and sound like each other. Therefore, he
explains that 9/8 is used instead of 8/7 and 10/9, and that in stead of
all middle intervals 14/13, and instead of all small lahnî intervals
256/243 is used. |