Bartok, Satie, Debussy and Chopin used the “golden section”

Classical music composers used the “golden section” in their compostitions.
Erno Lendvai analyzes Béla Bartók‘s works as being based on the golden ratio and the acoustic scale. In Bartok’s Music for Strings, Percussion and Celesta the xylophone progression occurs at the intervals 1:2:3:5:8:5:3:2:1.
Erik Satie used the golden ratio in several of his pieces, including Sonneries de la Rose+Croix.
The golden ratio is also apparent in the organisation of the sections in the music of Claude Debussy‘s Image, Reflections in Water, in which “the sequence of keys is marked out by the intervals 34, 21, 13 and 8, and the main climax sits at the phi position.”

Roy Howat, a musicologist, has observed that the formal boundaries of La Mer correspond exactly to the golden section.
Also, many works of Fryderyk Chopin, mainly Etudes and Nocturnes, are formally based on the golden ratio.
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