The Fibonacci Sequence as a Sacrament Meeting Musical

[_Philo Sofee]

https://www.youtube.com/watch?v=IGJeGOw8TzQ

This is cooler than all get out! As I am back to studying mathematics, and Fibonacci and Phi most especially, this struck me as profoundly delightful! It's a three minute video, well worth the look and listen.

[_DoubtingThomas]

Most Americans don't know what the hell is the Fibonacci sequence.

[_Doctor Steuss]

[_EAllusion]

One of my all-time favorite movie reviews:

https://www.chicagoreader.com/chicago/a ... oid=897084

[_Doctor Steuss]

One of my all-time favorite movie reviews:

https://www.chicagoreader.com/chicago/a ... oid=897084

That was an enjoyable read. Thank you for sharing it.

[_Analytics]

https://www.youtube.com/watch?v=IGJeGOw8TzQ

This is cooler than all get out! As I am back to studying mathematics, and Fibonacci and Phi most especially, this struck me as profoundly delightful! It's a three minute video, well worth the look and listen.

Excellent video. I do wonder, however, if this has more to do with the artist's skill of making a song out of an arbitrary sequence of notes--all in the same key--than with the Fibonacci sequence itself. The reason I say this is that while there are seven unique notes in a major scale (eight, if you count the last note which is the same as the first, only one octave higher), the numbering system is base 10. The way they handled this is that they took the two extra numbers--9 and 0--and added them to the scale. Thus, of the seven notes in the scale, three are double-counted. My guess is that systematically double-counting these three specific notes is what leads to the thematic properties of the song, more than the Fibonacci sequence itself.

What would be interesting is if he repeated the same exercise, but rather than using a base-10 numbering system he used a base-7. That way the seven unique notes of the major scale would correspond to the seven unique numbers in the counting system. I'm guessing it would be harder to get a good-sounding song out of this, but it would be more closely related to the Fibonacci sequence itself. Who knows--maybe it would sound wonderful!

[_Gunnar]

A delightful little video indeed, but why use a major scale rather than a minor scale, and why the E major scale in particular? What could he have done with a chromatic scale, which has 12 unique notes, or a 12 tone scale, in conjunction with a base 12 numbering system?

[_Some Schmo]

A delightful little video indeed, but why use a major scale rather than a minor scale, and why the E major scale in particular? What could he have done with a chromatic scale, which has 12 unique notes, or a 12 tone scale, in conjunction with a base 12 numbering system?

I don't think it would work because you're constrained by harmonics to keep to a particular scale.

And he's doing the major E scale because he plays in a blues band in his off hours (my best guess).

Excellent video. I do wonder, however, if this has more to do with the artist's skill of making a song out of an arbitrary sequence of notes--all in the same key--than with the Fibonacci sequence itself.

I think that's a near certainty. The sequence only specifies which notes to play in a particular order. It doesn't specify the timing of each note, and let's face it: that's where the magic happens. It's always the space between the notes.