Mathematics and Art - Finale

At last, I had finally reached the last day that I would have to adopt any time into doing anymore work for Mathematics and Art. I had already determined what I needed to do and tested the theory to ensure that it was plausible and could truly work over the past three days. Using the knowledge gained from the past few weeks and the last week of actual preparation and experimentation I now had all the tools necessary to actual play my water xylophone scale. Of course, because I had decided to draw lines to determine the water volume of each bottle for each respective note it didn't take long to fill bottles to their corresponding levels. With that done, I sat down in my conservatory and closed to door for a maximum effect as sound was best heard in this room.

I decided to play during night time as it would be the quietest time of the entire day without the natural sounds of the normal day so once the time came, I had planned what compositions to play in my head and had an arrangement positioned for optimum playing position. This position in my opinion was necessary so I could play without knocking over any bottles and tap the side of each bottle perfectly in the same place as the bottles all faced with the Fibonacci Symbol and Note of each bottle facing the camera. And so it was decided that 'Low C' would be in front, 'D' in the back, 'E' in front, 'F' in the back and so forth. Therefore I of course needed two metal chopsticks to play this the way I described and so I did just that and I of course played it in that way.

Below are the videos of each respective composition that I had planned with short descriptions underneath portraying the reasoning behind each chosen composition.

A scale is played here to demonstrate the notes in play in this octave. It shows what each note sounds like to the ear and will be utilized in a variety of ways as you progress through the videos below.

These are the Fibonacci Notes present in this particular scale that starts from root note 'Low C' so that everyone can identify which are the Fibonacci Notes in the octave.

These are the Non Fibonacci Notes present in this particular scale that starts from root note 'Low C' so that everyone can identify which are the Non Fibonacci Notes in the octave.

These are the possible Fibonacci chords that can be produced with this particular scale that starts from root note 'Low C'. I chose to show the possible combination of scales to demonstrate the strength of a harmony that is produced by a Fibonacci chord and the type of feeling that follows. Also, the first chord, C, E, G demonstrates the strongest Fibonacci bond. 'C' is the '1st' number and root note, 'E' is the '3rd' note in a scale and 'G' is the '5th' note in a scale, all which are of Fibonacci status which is something I was determined to portray. Therefore chords are a quick demonstration of Fibonacci in music.

An Arpeggio is a famous training method adopted by pianists to improve their finger and playing skills. In this case, the one we are looking at is the 'C Arpeggio.' This certain Arpeggio is considered to be playing only Fibonacci Notes as our root Note is of course 'Low C'. With that being our root note the only notes being played are 'Low C, E, G, and High C.' Therefore, the only notes being played are Fibonacci notes in this 'C Arpeggio.'

Mary Had A Little Lamb is a classic and famous song known by all ages and all races. So this became the perfect choice as it only uses Fibonacci notes when we follow note 'Low C' as being the root note. This composition uses only notes E, D, C, G which is a clear demonstration of Fibonacci notes in this particular case.