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Thread: Sound and the Fibonacci Sequence

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    Senior Member Larkenfield's Avatar
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    Post Sound and the Fibonacci Sequence

    Great things are done by a series of small things brought together...Vincent Van Gogh

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    Senior Member millionrainbows's Avatar
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    Hey! That works for me. There are a lot more ways you could interpret the series. The video used the Lydian scale, which is a seven-note scale with already built in half steps. What if the notes were determined by the corresponding number identity (1=C), in semitones from 1, the starting point?

    1,1,2,3,5,8,13,21,34,55 would become (starting on C) C,C,D,Eb,F,G#,C#,A,Bb,G…a very different sounding result. If put into a scale, this would yield C-C#-D-Eb-F-G-G#-A-Bb...
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    Senior Member JosefinaHW's Avatar
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    Looks like a double helix!

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    Senior Member EdwardBast's Avatar
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    The Fibonacci series and its approximation of the golden section were a fad in music theory several decades ago, mostly inspired by Erno Lenvai's analyses of Bartok in these terms. Others picked it up and ran with it. The results and long-term influence on theory seem to have been underwhelming. The above video confirms the level to which this speculative venture has sunk.

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    Senior Member JosefinaHW's Avatar
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    Quote Originally Posted by EdwardBast View Post
    The Fibonacci series and its approximation of the golden section were a fad in music theory several decades ago, mostly inspired by Erno Lenvai's analyses of Bartok in these terms. Others picked it up and ran with it. The results and long-term influence on theory seem to have been underwhelming. The above video confirms the level to which this speculative venture has sunk.
    It seems like a very interesting way of exploring pitch collections. Did it not receive enough attention in journals? Were composers and other musicologists either disgusted with or frustrated by earlier 20th century exploration into different pitch collections and thus just left this idea to the side? I'm talking about as a method of composition vs. method of analysis?

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    Senior Member Phil loves classical's Avatar
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    I just composed a short ditty on the tones generated by the ratios using these numbers. I can't say if there is anything significant with these tones. The major chord uses degrees 1, 3, 5, 8 on the scale, which some say is based on Fibonacci, but where does the 2 fit in? coincidence?
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    Senior Member millionrainbows's Avatar
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    You need to think 12, think 12. Then 2 fits in very neatly. It's interesting that the series skips 12 and goes to 13, which kind of leaves behind on octave of 12 notes, then goes on 'out' of that octave to 13 and 21.

    From here, the spaces between numbers become too great to correspond to semitones, or even "twelveness" in any directly corresponding way. It's an expanding series, whereas our octaves of twelveness are redundant, as far as pitch identity is concerned.

    Perhaps if the series were applied to frequency it might work better, until the limits of audibility were surpassed.
    "The way out is through the door. Why is it that no one will use this method?"
    -Confucious

    "In Spring! In the creation of art it must be as it is in Spring!" -Arnold Schoenberg

    "As long as avocados do not increase in price, I don't care." -Me

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