Скачать с ютуб 01 - MYSLOPLAZ - Fractalized - F.I.B.O.N.A.C.C.I. (2023) в хорошем качестве

01 - MYSLOPLAZ - Fractalized - F.I.B.O.N.A.C.C.I. (2023)

NEW ALBUM IS OUT!!! Download it at: https://mysloplaz.bandcamp.com/album/... MYSLOPLAZ is a "djent / thall / mathcore / drum and bass" project from the Czech Republic (Ostrava)... Video made in: https://vizzy.io CONCEPT: THE FIBONACCI SEQUENCE, THE GOLDEN SPIRAL AND THE GOLDEN RATIO: The Fibonacci sequence is a sequence in which each number is the sum of the two preceding ones. Individual numbers in the Fibonacci sequence are known as Fibonacci numbers, commonly denoted Fn , so for the rest of the concept I will use this denotation. The first 10 values in the sequence (+0) are: 0, 1, 1, 2, 3, 5, 8, 13, 21, 34, 55, etc., ad infinitum… The golden spiral is a logarithmic spiral whose growth factor is φ - the golden ratio. That is, the golden spiral gets wider by a factor φ for every quarter turn it makes. The Fibonacci spiral approximates the golden spiral using quarter-circle arcs inscribed in squares derived from the Fibonacci sequence. The proportion (or the ratio) of the two consecutive Fn keeps approaching the golden ratio towards infinity. The Fibonacci sequence is also called "nature's secret code" or "nature's universal rule". A perfect example is the shell of cephalopod called Nautilus, whose chambers adhere almost perfectly to the Fibonacci spiral. This pattern shows up everywhere in nature including flowers, pinecones, hurricanes and even huge spiral galaxies in space. But the Fibonacci sequence doesn't just stop at nature. It can also be applied to graphic design or music, so let's take a look at... THE FIBONACCI SEQUENCE IN MUSIC: Many composers in the past, as well as many current authors, have attempted and attempt to apply Fn to their music. There are several different approaches to the subject, however none of them fully satisfied me, so I decided to create… MY OWN APPROACH TO THE FIBONACCI SEQUENCE IN MUSIC: To begin with, I tried assigning Fn to individual notes in an octave using the "modulo operation" function and a simple key "C=1, C#=2, D=3, D#=4, E=5, F=6, F#=7, G=8, G#=9, A=10, A#=11, B=12, C (octave higher)=13, etc.". In this case, the "Pisano period" is equal to 24, which means that after every 24 Fn the same result is repeated ad infinitum. It gives us an 11-tone scale called "Chromatic Undecamode 7", where only the F note is missing from the entire chromatic scale. Which I think is quite a logical result, because if we imagine the octave as a circle, then it must be interrupted at 1 point (note F) in order to continue as a spiral. But why it is the note F, I seriously have no idea. I also noticed that the 10th Fn is 55 and there are "only" 55 10-tone scales. And only 10 of them do not contain the note F. Interesting, right? Does our decimal system have anything to do with Fn? However, neither hendecatonic nor decatonic scales are entirely suitable for composing music. Most scales have 7 notes (mathematically 7, but musically 8 (8 is Fn), because C is also counted an octave higher). So I tried to find the heptatonic scales in the 10 decatonic scales mentioned above. As a guide I used the Indian Carnatic Music scales called Melakarta Ragas, because 36 of them also surprisingly do not contain the note F and then I used the 10 basic scales used by Allan Holdsworth, who was an absolutely brilliant jazz-fusion/progressive-rock guitarist who also influenced a lot of "metalheads" including me myself. Of course I had to transpose some of the Holdsworth's scales to fit decatonic scales mentioned above. So here are the 10 "Fibonacci" scales I use on this album: 1. Shubhapantuvarali - Harsh Minor - C C# D# F# G G# B 2. Shadvidamargini - Hungarian Major 6th Mode - C C# D# F# G A A# 3. Gamanashrama - Harsh-intense Major - C C# E F# G A B 4. Simhendramadhyamam - Double Harmonic Minor - C D D# F# G G# B 5. Hemavati - Lydian Diminished - C D D# F# G A A# 6. Dharmavati - Lydian Flat 3 - C D D# F# G A B 7. Latangi - Harmonic Lydian - C D E F# G G# B 8. Vachaspati - Acoustic - C D E F# G A A# 9. Mechakalyani - Lydian - C D E F# G A B 10. Kosalam - Aeolian Harmonic - C D# E F# G A B There are many numbers in the creation of rhythmics, so applying Fn to the rhythm was relatively easier. To create a rhythm, we need to determine a tempo, a time signature, and something I call a "segment counting system." The individual song tempos are 89 BPM, 144 BPM and 233 BPM (89, 144 and 233 are Fn). All basic guitar riffs are composed in 13/8 time signature (8 and 13 are Fn and 13/8 is a ratio close to the golden ratio). And what is this "segment counting system"? It's simply counting beats (or other units) in individual riff segments. Personally, I don't count beats, but eighth notes (8 is Fn), because they just suit me better, so why not, right? I use the Indian counting system called Konnakol... No more space - YOU CAN READ THE REST OF THE CONCEPT IF YOU DOWNLOAD THE FULL ALBUM at: https://mysloplaz.bandcamp.com/album/... Enjoy math and music!!! :-D