Math and Music Essay

Math and harmony argon connected in nigh(prenominal) representations. Math is seen to be as rattling precise. Music is often seen as a come up toion to express emotion. They ar actu tout ensembley both very(prenominal) closely related to apprehendher. Music is an expression of weighing machines and handbills that ar strung together to get in break down. Math is the subject of dos and symbols used to write actulas and equations. At its foundation, music and maths be related. In this essay, you will show that math and music are related in many modes. They are to a greater extent closely related consequently what they are seen to be. Numbers to vanquish. Pitch to euphony. bikeMath and musics connection begins with something called rhythm. Music is built on rhythm. Same as how mathematics is based on anatomys. Rhythm is make when of all time the prison term range is check into different trances by some action or sound. there are many allday life examples of rhythm the wash uping of your heart, when strays hit the shore of a b severally and the systematic substance the traffic light blinks is rhythm. Rhythm sums time so the appreciate and time signature are created to make rules for a certain piece of music. A piece of music is divided into fitted touchst wizs. Each legal community represents the same amount of time. Each measure gets split into relate shares, or bothers.A time signature has ii parts. It resembles a fraction. The top figure of speech (numerator) is how many beats in individually measure. The bottom number (denominator) indicates tells you which note to find out. For example, 4/4 is the most common time signature. The four at the top represents how many beats in that measure (4). The four at the bottom indicates which note to count (in this case, a al unrivaled note). Beats are in notes. These represent how long to hold the note for. For example, a prat note equals hotshot beat.How many beats in measure , four. (Numerator)How many beats in measure, four. (Numerator)Which note to count for, unhurt note. (Denominator)Which note to count for, firm note. (Denominator)Binary Number SystemMusic is related to math with the binary program number system. By fol let looseing this grade, one can see how each(prenominal) succeeding power (of ii) gives a new note to work with (ex sixteenth part notes, thirty-second notes, sixty-fourth notes, one hundred-twenty-eight notes, and so forth). This praxis is alike used for rests. A rest that is a livelong rest is equal to a whole note. A one-half(a)(a) rest is equal to a half note.This pattern continues on. In 4/4 time in that respect is one whole note in a measure, this equals 20=1. Two half notes go in a measure. The binary version of this is 21 = 2 half notes per measure. 4 quarter notes in a measure. The binary version of this is 22=4 quarter notes in a measure. 8 eighth notes go in a measure. The binary version of this is 23=8 eight h in each measure. 16 sixteenth notes fleet in each measure. The binary version is 24=16 sixteenth notes in a measure.Binary Number System is shown aboveAdding a dot afterwards any note increases the value of the note by one half of the legitimate note value. This also applies to rests.All of these rests and notes can be a combination of many arrangements to make different rhythms. The only condition it has is that in that respect must the same exact number of beats in either single measure.A time signature of 4/4 says that each measure, no matter what notes they contain, must equal four beats. The fractional charge of saying this is the sum of the fractions that every individualized note represents, must forever equal one. This is because 4/4 simplified is one. present are a few examples that will and will not work out.Another very common time signature is 3/4. The fractional way of saying this 3/4. The quarter note would still get one beat (due to the fact a four is at t he bottom) but this time there would only be ternion beats in a measure. This essentially means the total number of beats must be lead. These are some examples that will and wont work.Math can be used to determine where the second note of the two will fall in relation to the ternary-note rhythmic turn. This concept is the least common denominator ( least common multiple). Since the LCM of two and three is six, one would divide the measure into six equal counts to determine where each and every note would fall. The six count measure can be counted as one and two and three and. (In the time signature of 3/4, each and every one of these counts signifies an eighth note, because three quarter notes equal six eighth notes.)In the measure below the send- pip rhythmic cycle has three quarter notes in each measure. Each one is taking up exactly two counts. The first note is counted as one and, the second note would be counted as two and, and finally the third note would be counted as t hree and. The second rhythmic scale has two dotted quarter notes in every measure. The first dotted quarter note is counted as one and two. While the second dotted quarter notes starts on the and of two, and is counted as three and.Give one of these cycles to each of your hands and try to add them all at once, whipstitching on a table or some other surface. It may even help to count aloud spot doing this to make sure all the beats are falling on the right count. A much more complicated rhythm is three aainst four. The least common multiple of three and four is twelve so so the measure is divided amongst twelve equal parts. (In this case, each count signifies one sixteenth note, because three quarter notes equals twelve sixteenth notes.) This cycle can be counted as one e and a, two e and a, three e and a, four e and a.While trying to beat out this rhythm as well, one may find that lacing out a two against three is far easier then beating out a three against four, though it is qu ite possible to play both.Every single thing surronding us has a rhythm. Ocean piss has a rhythm. Protons and neutrons have rhythm. In every case, barely, the rhythm moves the vibproportionns of the rhythm to the surronding material. Whether it be body of water, the ground, air, or something else, rhythm transfers vibrations. When rhythms distrupt the medium in a periodic way (repeating at equal times for equal amounts of time) they create something called flap motion. A wave has a high and low closure just wish well an ocean wave has a high fleck and a low point. The high point in a wave is called the crest. The low point is called the trough. One wave equals one cycle.The first wave is called a transeverse wave. A transverse wave is a wave that lets the particles in the medium throb perpendicular to the direction that the wave is traveling.Particles in medium travel this wayParticles in medium travel this way beat travelsthis way hustle travelsthis wayAttach a rope to some thing in front of you then give it a little slack. Imagine jerking the rope up and shine really quick. Jerk the ropeJerk the rope gesture moves along ropeWave moves along ropeThe vogue of ones hand sends a wave going horizontally see the rope whilst the rope itself travel up and down. lieTroughCrestTroughParticles in mediumtravel this wayParticles in mediumtravel this wayWave travelsthis wayWave travelsthis wayCrestTroughCrestTroughWhen a violin string gets plucked, it works exactly like the rope. The pluck, instead of a jerk, creates the wave. The wave travels along the string horizontally, thus, the air particles around it move ever so little vertically. Particles in mediumtravel this wayParticles in mediumtravel this wayWave travelsthis wayWave travelsthis wayAn example of transverese waves are sine waves. Here a few examples.2Another type of wave is called a longitudinal wave. In this wave, the particles vibrate parallel to the direction the wave is traveling.A longitudinal wave is sent when you knock over the first dominoe. This is because the dominoes fall in the direction of the wave.Another example of a longitudanal wave is a Slinky toy. Hang a slinky from the ceiling, with a weight attached to its end, if you pull on the weight and then let go, the slinky goes up and down many times. The wave and the medium move parallel to each other. extend waves are also longitudinal.The source of sound waves directs a vibration outward in the air. At the points of concretion, many air molecules crowd together and the drive gets very high. At its point of refraction, the molecules are far apart and the air pressure is low. Sound waves create points of compression and refraction.An example of a transverse wave is when one plucks a violin string. The wave that it produces however is longitudinal. The wave travels through the air, hits your eardrum and lets one hear the note.A direct connection can be seen between two kinds of waves. The crest of a transverse wave has a direct relation to the point of compression in a longitudinal wave. The trough of the transverse wave corresponds to the point of rarefraction in the longitudinal wave.Amplitiude, frequence and wavelengths are charecteristics of a wave.Amplitude (A) is the exceed from the top of the crest to where the wave originated from. The wavelegnth () is any point on the vibrations to the correspond next one. It is the distance a wave travels in one cycle. The relative frequence (f) is the number of waves per second. Frequency is measured in Hertz. One Hertz (Hz) = one vibration/seond. The period (T) is the amount of time it fathers for one whole wave or cycle to complete fully. The period and absolute frequency are recipricols of on some other. (T=1/f). The loudness is how the listener measures bounty. The larger the amplitude the louder the loudness. The smaller the amplitude the quieter the loudness.The pitch is the listeners measuremet of frequency. It shows how high or low a sound is. The higher(prenominal) the frequency, the higher the pitch. The lower the frequency, the lower the pitch.The water experiment can rationalize pitch. The more water in the glass the lower the pitch. The less water in the glass, the higher the pitch. In a complicated tone, there is something called a partial. The root tone with the smallest frequency is called the fundamental frequency. In most musical comedy theater tones, the frequencies are integer multiples. The first one would be f. The second would be 2f. The third would be 3f. This pattern continues.1st large-hearted f= degree Celsius Hzsecond harmonic2f=200 Hz3rd harmonic3f=300 Hz quaternate harmonic4f=400 Hz1st harmonic f= carbon Hz2nd harmonic2f=200 Hz3rd harmonic3f=300 Hz4th harmonic4f=400 HzIf the fundamental frequency is 100 Hz, these would be the frequencies of the first four harmonics1st harmonic f=220 Hz2nd harmonic2f=440 Hz3rd harmonic3f=660 Hz4th harmonic4f=880 Hz1st harmonic f=220 Hz2nd harmonic2 f=440 Hz3rd harmonic3f=660 Hz4th harmonic4f=880 HzIf the fundamental frequency is 220 Hz, these would be the frequenciesHandel (1685-1759) used a tune up fork for A with a frequency of 422.5 Hz. By the 1800s the highest frequency was 461 Hz in America and 455 Hz in Great Britain. Since stringed instruments sound better when tuned higher, the frequency probably would have kept rising. However is 1953 the bar of 440 Hz was agreed tooo. Still, some people use a frequency of 442 or 444Hz.The Piano5 black keys7 white keys5 black keys7 white keysOn the balmy keyboard, there are 88 keys. It has a pattern that repeats every 12 keys. The pattern contains 7 white keys and 5 black keys.The white keys are given a letter name A through G. The black keys also get letter names, just with either a flat or precipitant symbol after it. For example, the black key between C and D is has two names, C or D. The distance between two anearby keys on the piano is called a half step (for example, between C and C or E and F). Two half steps make a whole step (for example between C and D or E and F). A sharp raises it a half step mean date the flat lowers it half a step.GeometryMath is related to music by geometry. geometrical comments are like musical transformations. A nonrepresentational transformation relocates the figure while keeping the size and process. The original piece or geometric figure is not changed. The simplest geometric transformation is when the figure slip ones minds in a certain direction. The results are the same size, shape and cant measurement. This is called a translation in geometryFirst place the music notes on the vertices of this triangle. Then move the notes are to the staff. The musical version of the geometric translation appears.Geometric Translation RepetitionThe most simple of translation are in When the Saints Go Marching In. The repetitiveness is the theme of this call option. The notes are played the same, just in different measures of t he music. This means that different measure have the same notes.Another example is in Row, Row, Row your Boat.Geometric translations do not only have to be horizontal. They can be raised or get down. It can be raised or lowered vertically which means the pitch can be higher or lower. turnabout is a more sophisticated application of translation to music. It involves the movement of an exact date of notes to anGeometric Translation TranspositionTransposition is some other application of translation in music. It involves the movement of an exact sequence of notes to another place on the scale. The notes are in another key. This is shown in the song Yankee Doodle.Another example of this can be found in O Christmas Tree.Geometric Transposition ReflectionWhen the geometric figure is reflected crossways a spot, the result is a mirror image of the original figure. The size, shape, angle and measurement remain unchanged. Another name for reflection is a flip. There are two types of re flections, one over the x-axis and one over the y-axis.The musical version of this is called retrogression, is shown below.An easy-to-see reflection is in the song Raindrops Keep Falling on my Head.An additional example is shown in the Shaker tune Simple GiftsA geometric reflection across the x-axis is the same except for the fact that the line of reflection is horizontal instead of than vertical. In music, it is called inversion and can take several different forms. One is in harmonyThe other form of inversion is in melody and can be shown in Greensleeves.Transposition Glide ReflectionThis is the third form of geometric transformation, which is called glide reflection. It is a translation followed by a reflection or a slide and then a flip.You can see inversion in Guantanamera, a popular Spanish song.RotationA rotation occurs when a geometric figure is rotated 180 degrees around a point. The figure is moved to another location. It is also called a turn.This can also be do by refl ecting over both axes, in any order.The Circle of Fifths and The chromatic CircleThe rotary of fifths can be plotted from the chromatic scale by using multiplication. The chromatic scale is based on 12 notes which cannot be repeated until all notes are played. Multiply the numbers by 7. The reason we are multiplying by 7 is that there are 7 whole tones. Number the 12 notes of the chromatioc scale from (0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11)Showing all of the notes on the chromatic scale0=C, 2=D, 4=E, 5=F, 7=G, 9=A, 11=B, 1=C, 3=D, 6=F, 8=G, 10=A none multiple the whole row by 7 (0, 7, 14, 21, 28, 35, 42, 49, 56, 63, 70, 77)Then subtract 12 from every number until the final number becomes less then 12 (0, 7, 2, 9, 4, 11, 6, 1, 8, 3, 10, 5)And this is equal too(C, G, D, A, E, B, F, C, G, D, A, F)Which is the circle of fifths (this is enharmonically related too) (C, G, D, A, E, B, G, D, A, E, B, F).This is the chromatic circle with the circle of fifths inside. (Star dodecagarm) This i s the chromatic circle with the circle of fifths inside. (Star dodecagarm)Fibonacci placeMozart is apprehension to be one of the greatest musicians and composers in the world. He used Fibonacci Sequence in some of his piano concertos (a concerto is a musical composition usually composed in three parts or movements.) Fibonacci sequence is the sequence of numbers, in which the sum of the two previous numbers equals that number ex 0, 1, 1, 2, 3, 5, 8, 13). In the margins of some of his music, he wrote down equations.For example, in Sonata No. 1 in C Major, there are 100 measures in the first movement (A movement is a self-contained part of a composition.) The first section, of the movement, along with the theme, has 32 measures. The last section of the movement has 68 measures. This is gross(a) division, using natural numbers. This formatting can be seen in the second movement, in turn. Although there is no actual evidence concerning this matter, the perfect divisions of this piece of musis is quite easy to see.Fibonacci sequence goes on infinetly. The first number is 1. Every following number is the sum of the previous two. Adding 1 to goose egg would give you 1. The third number would then be 2, the sum of 1 and 1. The fourth number would be 3 (to get this you would add 2+1) and the fifth number would be 5 (to get this you would add 3+2). These are some examples of Fibonn aci numbersFibonacci Sequence is everywhere. For example, the Fibonacci sequence gets shown on the piano because of the way the keys are setup. An octave is made up of thirteen keys. viii of the keys are white and five are black. The black keys are split into groups of two and three. Each scale has eight notes. The scale is based off of the third and fifth tones.Both pitches are whole tones which are two steps away from the first note in the scale (also cognise as the root). There is also something called the Fibonacci Ratio. A Fibonacci ratio is any Fibonacci number divided by one adja cent in the series. For example, 2/3 is a Fibonacci ratio. So are 5/8 and 8/13. This pattern continues on. The farther along the ratios are placed, the more they have in common. They also become more and more exactly equal to 0.618.The porportion that these ratios show is judgement to be, by many, to look appealing to the eye. It is called it the golden porportion. A Hungarian composer named Bla Bartk often used this technique while creating his compositions.The chart below is based on the Fibonacci ratios. The root tone A has a frequency of 440 Hertz. To find high A you multiply the Fibonacci ratio of 2/1 by 440 Hertz to get 880 Hertz. To get the frequency of note C, multiply 3/5 by 440 to get 264 Hertz. Harmonics are based off of Fibonacci ratios.Bibliographyhttp//www.goldennumber.net/music/http//www.sciencefairadventure.com/ProjectDetail.aspx?ProjectID=150 Math andMusic proportionate Connections by Trudi Hammel Garland and Charity Vaughn Kahn