Aurea Mediocritas!

1.618 ad infinitum!
Never repeating, always intriguing
Fibonacci born; phi!

Golden Section behold!
Creation sequence, nature's frequence
Mathematical phenomena; phi!

Heaven's divine proportion!
Ancient mystery, living history
Infinite and eternal; phi!


One one two, three five eight
Sounds so simple, nothing great
Thirteen, twenty-one, thirty-four
The hinges creak on an opening door
A repeating patter of the masters hand
Signing his work, the universal plan
Learn to look, the pattern's plain to see
In the smile you flash, the dance of the honeybee
In the spirals of the pine cone and little acorn cap
In spiral arm galaxies and the ocean's wave whitecap
In the swirl of the seashell, the air vortex of a wing
The hurricane's eye and a thousand unseen things
Welcome to the mystery of the Greek letter phi


"You can use rules or set theory to dictate timings and note intervals," expands Sandison about their composition strategies. "For instance, you can imagine your melody to run vertically instead of horizontally, so that you're thinking of it as a vertical spiral, running on the spot. There's a thing you can calculate for plants called divergence, which is a ratio of complete turns of spiral leaf positions relative to the number of leaves in that spiral. In plants, this usually gives a Fibonacci number, which is pretty uncanny, but it's basically a natural law that's trying to create optimum distribution of leaf positions, to stop leaves from obscuring each other in sunlight.

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