23-03-2026, 03:02 AM
The You are not allowed to view links. Register or Login to view.relationship is a natural phenomenon that has been referred to as the "basic miracle of music", the use of which is "common in most musical systems".[3] The interval between the first and second harmonics of the harmonic series is an octave. In Western music notation, notes separated by an octave (or multiple octaves) have the same name and are of the same pitch class. <---- This was taken from wikipedia
The vord daiin as a word and a suffix appears through out the Voynich Manuscript along with aiin or ain and it seems to be a system. It appears that the Voynich could be music as Octaves follow a pattern along with tones, pitches and notes. The whole Voynich could be written out as music in made up script.
I compared folio 67r2 with Ptolemy's Tone-Zodiac (Harmonics, Book III, Chapter 8) and they match extremely close if not perfect. This f67r2 could be a copy from Ptolemy's record in the early 15th century.
As a Hypothesis for daiin as I have a strong argument for
it to be "octave" and "aiin" means "tone/note" of a diatonic scale.
12 frequenct forms, match the 12 tones of a chromatic scale. The
distribution of how notes in real music: some pitches dominate while
others are rare.
The circular diagram f67r2:
This circle is divided 12 times, long assumed to be astrological, maps with Ptolemy's tone-zodiac from Harmonics Book III — a system that explicitly maps the 12 zodiac signs with musical tones. The aiin forms appear at positions 1-4 (a tetrachord), disappear at positions 5-6 (the tone of disjunction), and resume at position 7 (the second tetrachord). The root ain at 12 o'clock sits directly opposite the suffix -daiin at 6 o'clock — the octave relationship expressed as geometric opposition, exactly as Ptolemy described.
The melodic contour from f113r:
Assigning pitches to the most common prefixes (che- = G, o- = D, qo- = F, sho- = A, cho- = E, ch- = C) produces a melody centered on G with D as a lower cadence point. This is Mode VIII, Hypomixolydian — the mode of Veni Creator Spiritus. The contour shows the characteristic shape of this hymn: opening on G, rising to A and C, hovering on the tonic, then descending through F to cadence on D.
The form confirms it:
Across three consecutive paragraphs (1-3), the melody traces one complete verse — rising, sustaining, descending. Paragraph 4 shifts to entirely different vocabulary (lkch- prefixes, sparse octave markers), functioning as an interlude. Paragraph 5 returns to the G-centered pattern for verse 2. Then paragraphs 6-8 reveal something extraordinary: paragraph 6 states a complete respond (A+B), paragraph 7 repeats only the first half (A), and paragraph 8 repeats only the second half (B). This is textbook antiphonal performance practice — splitting a chant between two choirs. Paragraph 9 mirrors paragraph 4 as a second interlude.
This repeating cycle — verse, interlude, verse, respond with antiphonal division, interlude — is the structure of a responsorial liturgical performance. No hoax or random text would reproduce this pattern. It requires specialist knowledge of medieval chant form.
Why Veni Creator Spiritus specifically:
The G-centered tonality (Mode VIII), the melodic contour matching its characteristic rise-hover-descend shape, the hymn's deep connection to the creative spirit and cosmic order (fitting a manuscript concerned with natural philosophy), and its prominence in medieval liturgical life all point to this specific chant. Veni Creator was sung at the most solemn occasions — ordinations, conclaves, coronations, Pentecost — making it exactly the kind of foundational sacred music that a manuscript linking music to cosmology would encode.
The Ptolemaic connection ties it together: the Voynich author appears to be working within the musica mundana tradition, where music and astronomy are twin expressions of cosmic harmony. The circular diagrams aren't astrology or music — they're both simultaneously, just as Ptolemy intended.
The vord daiin as a word and a suffix appears through out the Voynich Manuscript along with aiin or ain and it seems to be a system. It appears that the Voynich could be music as Octaves follow a pattern along with tones, pitches and notes. The whole Voynich could be written out as music in made up script.
I compared folio 67r2 with Ptolemy's Tone-Zodiac (Harmonics, Book III, Chapter 8) and they match extremely close if not perfect. This f67r2 could be a copy from Ptolemy's record in the early 15th century.
Quote:The best match is Ptolemy's diatonic genus within the Greater Perfect System, specifically his intense diatonic tetrachord (9:8, 10:9, 16:15), because the shortening of aiin to ain at position 4 suggests a smaller interval (the semitone) at the top of the tetrachord, which is characteristic of the intense diatonic where the semitone (16:15) comes last.
As a Hypothesis for daiin as I have a strong argument for
it to be "octave" and "aiin" means "tone/note" of a diatonic scale.
12 frequenct forms, match the 12 tones of a chromatic scale. The
distribution of how notes in real music: some pitches dominate while
others are rare.
The circular diagram f67r2:
This circle is divided 12 times, long assumed to be astrological, maps with Ptolemy's tone-zodiac from Harmonics Book III — a system that explicitly maps the 12 zodiac signs with musical tones. The aiin forms appear at positions 1-4 (a tetrachord), disappear at positions 5-6 (the tone of disjunction), and resume at position 7 (the second tetrachord). The root ain at 12 o'clock sits directly opposite the suffix -daiin at 6 o'clock — the octave relationship expressed as geometric opposition, exactly as Ptolemy described.
The melodic contour from f113r:
Assigning pitches to the most common prefixes (che- = G, o- = D, qo- = F, sho- = A, cho- = E, ch- = C) produces a melody centered on G with D as a lower cadence point. This is Mode VIII, Hypomixolydian — the mode of Veni Creator Spiritus. The contour shows the characteristic shape of this hymn: opening on G, rising to A and C, hovering on the tonic, then descending through F to cadence on D.
The form confirms it:
Across three consecutive paragraphs (1-3), the melody traces one complete verse — rising, sustaining, descending. Paragraph 4 shifts to entirely different vocabulary (lkch- prefixes, sparse octave markers), functioning as an interlude. Paragraph 5 returns to the G-centered pattern for verse 2. Then paragraphs 6-8 reveal something extraordinary: paragraph 6 states a complete respond (A+B), paragraph 7 repeats only the first half (A), and paragraph 8 repeats only the second half (B). This is textbook antiphonal performance practice — splitting a chant between two choirs. Paragraph 9 mirrors paragraph 4 as a second interlude.
This repeating cycle — verse, interlude, verse, respond with antiphonal division, interlude — is the structure of a responsorial liturgical performance. No hoax or random text would reproduce this pattern. It requires specialist knowledge of medieval chant form.
Why Veni Creator Spiritus specifically:
The G-centered tonality (Mode VIII), the melodic contour matching its characteristic rise-hover-descend shape, the hymn's deep connection to the creative spirit and cosmic order (fitting a manuscript concerned with natural philosophy), and its prominence in medieval liturgical life all point to this specific chant. Veni Creator was sung at the most solemn occasions — ordinations, conclaves, coronations, Pentecost — making it exactly the kind of foundational sacred music that a manuscript linking music to cosmology would encode.
The Ptolemaic connection ties it together: the Voynich author appears to be working within the musica mundana tradition, where music and astronomy are twin expressions of cosmic harmony. The circular diagrams aren't astrology or music — they're both simultaneously, just as Ptolemy intended.
