THE MATHEMATICAL MODEL AND GEOMETRICAL

PROGRESSION OF THE GUITAR AND THE GOLDEN

RECTANGLES – “THE BASICS” by: Yorgos Kertsopoulos
... his work is so unique in its scientific approach but also so full of traditional truths, it
includes everything...Jose Ramirez (at the press conference given by Y.Kertsopoulos at the
Music Messe in Frankfurt-1983).

The classical guitar’s construction based on the tradition initiated by Antonio de Torres Jurado and
influenced by “aesthetics” criteria and historical trends. The mathematical model and the
geometrical progression of the guitar as designed, constructed, published and presented
internationally by its founder Yorgos (Georgios) Kertsopoulos.

By: Yorgos Kertsopoulos (http://kertsopoulosaesthetics.blogspot.com/ )

The mathematical proportions and the geometrical progression involved in the designing of the
classical guitar’s outline-perimeter, bridge and soundhole in relation to the string length. The
mathematical model and the geometrical progression presented with historical references and a
basic explanatory constructional presentation and acoustical analysis based on the 180 year approx.
life of the modern instrument’s unrecorded secrets. Is this a revelation of the inner soul of the guitar
or a fascinating journey in discovering the real genius of Antonio de Torres Jurado (13 June 1817 –
19 Nov. 1892)?

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…At the press conference given by the author (Musik Messe, February 1983) Mr. Jose Ramirez
stated: “This prospect here presented, has all the traditional measurements and proportions of Torres.
It is the starting point and the basis which leads to the ideal guitar. The way though to the ideal guitar
is through this basis” (Das Musikinstrument, Heft 9/September 1984).

For many centuries and even as far back as the ancient periods, the criteria in “aesthetics”
have been mainly connected with the mathematical proportions-ratios and/or the geometrical
progression existing in defining the form-shape and context of a concrete object.

A perceptual representation of harmony is conceived for such a concrete object possessing

these qualities, accompanied by a simultaneous optimum performance of the object in its functional
and liturgical properties.

A repetition in the presence of the above triad: a) aesthetics b) liturgical functions

and c) mathematics has also been common in the construction of musical instruments. The necessity
of applying mathematics for providing the optimum in the aesthetic beauty of a musical instrument
with the joint scope to obtain the desired perfection in its sound production remains a subject of
historical and acoustical importance.

It involves the continuing struggle of many researching minds, working in a chained

manner with the successful past experiences, striving to capture the musical essence of the
immaterial medium that excites the senses; sound.

Of course, it has been known for thousands of years that this medium exists in space and
time, respecting the physiological behavior of our perception but also behaving in an independent
physical way, regardless of the perception‟s understanding, need or happening.

Ernst Gottlieb Baron writes in 1727: …The essence depends entirely on the luthier. He
knows the appropriate mathematical proportions, so that the cavities, height, depth, length and width
fit together uniformly. This uniformity (egalite) is the reason that an instrument, whether it be of
Italian, German or French wood, sounds good1.

Characteristic, of the spherical connections interrelated between the sciences and the arts
as applied especially in the early renaissance is the following, as expressed by the great architect of
that period, Leon Battista Alberti who writes:

“Outline, we will call a certain correspondence of those lines that measure the dimensions
numerically: length, width and height. The rules of outline can be best extracted out of that in which
Nature clearly and impressively reveals herself to be significant and admirable. And actually, I
always find Pythagoras confirmed that she remains similar in all her creations…The self – same
numbers, which affect the harmony of voices to sound pleasant in the ears, also fill the eyes and the
soul with extra-ordinary joy. And thus, I will borrow the laws of the outline from the musicians, who
explored these numbers”2,3,4.

1
E.G.Baron, Historisch-Theoretisch und Praktische Untersuchung des Instruments der Lauten...(Nuremberg, 1727) p. 90
2
L.B.Alberti, De re aedificatoria, IX, 5
3
In the early renaissance and even later, music was regarded as the “theory of numbers” and the Pythagorean conception
the main point of reference. B.Munxelhaus, Pythagoras musicus (Bonn, 1976) p. 15.
4
Gerhard Christian Sohne who also refers to these historic points has done an important work of reference concerning
the geometric construction of the lute. Gitarre + Laute (April 1980).

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 Moreover, the spherical knowledge of the so many variables and coefficients that exist in
a specific field of art was a necessity and the common rule for the luthier, artist or musician, who did
not live in our modern times. In Isaac Newton‟s time, a scientist was also a philosopher, for science
was only a natural outcome of philosophy not being able as yet to stand independently on its own
feet. It was well after Newton‟s time that the distinction between science and philosophy became a
reality.

Today, J. S. Bach is regarded to have been a great composer, however few people know
that he constructed, invented and played many instruments as well as improvised successfully on all
of them, only as a good soloist could do and all this was an additive to all the other obligations he
had. His interest on acoustics and mathematics was significant, for he would never have been able to
succeed in establishing the “Well - Tempered Clavier” which led to the well established “equal
temperament”.

Inevitably, the above rule became an exception in our modern times of “specialization”
giving ways to mass production needs and various competitive marketing demands. It naturally can
skip our minds, that the above mentioned distinct peculiarity of poly-liturgical necessity, involving
so many different and various parameters of daily functional happenings, could have been a very
basic cause-reason for the success of those centuries in offering us the greats in any field of art or
science.

The social and economic changes that impose different and/or even limited demands on
the individual remain a controversial subject; for the author is aware of the greats of the 20th century.
The point is made comparatively to hint at the importance the author gives in analyzing the work of
the great artists or luthiers that marked decisively the arts and lutherie in general and lived in the
centuries past.

One plunges into historical and sociological habits and trends with the hope that through
the knowledge and analysis of the facts, a unique synthesis may evolve that will be compatible to
one‟s own daily life and do better justice to his or her produced work, including the general society‟s
increase in valid knowledge.

The ideas, thoughts and traditions that circulated and influenced spherically the musical
world, the arts, lutherie, interpretation and so on, were under a moving and changeable process with
a constant experimentation taking place simultaneously. Tradition remained strong and unchanged
whenever it reached perfection in arts.

Any experimentation that was outside of the tradition had to be one step clearly ahead
from it, before it could be adapted and either change or revise tradition. One step short, clearly meant
failure of the experiment.

Somehow, it is somewhat discouraging to realize that today‟s technology cannot hint at

the true details of success regarding a Guarneri, Amati or Stradivarius violin. A logical consequence,
if one realizes that the real details of their success lied inside the brains of the builders and in the
actual happening process of each unique construction.

The actual process of the construction is of great importance in lutherie. It progresses

lively and depends fully on the conscious and even sub-conscious intuitive applications of the luthier
who feels the intimate reactions of his wood during the process. It is a happening. Of course, the

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happening will include measurements, proportions, mathematics, and data that can be analyzed and
synthesized and even fed into computers.

The happening itself though, cannot be grasped, measured or analyzed, lacking the
possibility to the third party that comes after the construction process to be able to conceive and
comprehend the real cause-reason of acoustical success. There seems to be a natural boundary put by
space and time to guard the unique process of the construction, similar in a sense, to the eventual
birth processes of all natural organisms.

Additionally, every day is a new different world with various unique conditions of
temperature; relative humidity and so many other factors involved influencing the gluing or stress
distributions or even the varnishing processes. Such factors, are not only considered seriously by
each maker but also make it impossible for a third party, to trace exactly the real overall and detailed
causes that are responsible for the construction of a beautifully sounding instrument.

Although, we cannot exactly trace the happening itself, an effort to comprehend deeply
the constructional applications of the proportions or geometric dependences of a musical instrument
of a great luthier, can lead one into the different essential channels of thought of the maker‟s mind.

This has been the case in the violin family of instruments. Once the mathematical model
of the violin was established, it gave the answers to many other constructional applications, which
although they seemed independent, however in the long run were interconnected with the
mathematical model itself.

Throughout the history of the luthier‟s profession, sadly enough, the communicational
climate has been really chilly or even frozen in many cases because the field was characterized by
extremely high competition.

The result being the guarding of the successful applications in construction within the
shop of the luthier, or within the society of the fellow associates that existed in many cases, for
defending the common cause from competitive intruders. In this way successful methods and
applications became “secrets of the trade” to be transmitted only to the trusted ones or to the
succeeding family members.

A historical example of this is the lute society of the “Tieffenbrucker”5 (Italy) in the
renaissance, which had as a goal, along with the guarding of the important secrets of the trade, the
economical blockade of every new luthier, who was not an approved member of the society.

This was expressed with the sale and circulation of wood strictly to the members of the
society, since the society held strong influences within the wholesale traders of wood and material.

Even more, a lutenist would teach the student how to play the lute but would never say a
word to the student about the stringing of the lute. The cat-gut strings had a special technique that
involved the cleaning of them, the hanging of them by the ceiling with specific weights for each
gauge of string to maintain at straight lines their molecular structure for uniformity and they were
also strung on the lute with a wounding process at specific angles.

5
Tieffenbrucker is a large multigenerational family of luthiers originally from Bavaria active in Venice and Padua,
Italy.

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 The student had to search and find everything in his or her own self-taught way without
being taught anything by the teacher concerning the stringing process. After all, the stringing process
was related more with the lute construction and less with the lute playing and it enjoyed the secrecy
imposed by the builders of the lute themselves.

To summarize the above, all these present the climate involved throughout the historical
facts concerning the well-guarded transmittance of the successful knowledge accumulated in
lutherie. Moreover, one can see how this climate is related with the “aesthetic” importance held in
the application of the mathematical design and proportions involved, which simultaneously was at all
times expected to lead to the successful acoustical construction of an instrument.

So, what was the situation back in 1976? This was the year that the author started to
search for the mathematical model of the traditional classical guitar. Could the lack of recorded,
documented reference (at that time) in regard to the mathematical proportions and geometrical
design of the guitar alone, become capable enough to disprove their existence?

The international bibliography covering the instrument‟s history and construction did not
mention their existence and the interviews taken of important luthiers up to that time, answered
negatively to an often-asked question by interested parties and guitar construction experts and
reporters. The question being: Are there mathematical relations governing the relations of all the
dimensions of the guitar, another words, is there a mathematical model and/or geometrical
progression governing this beautiful aesthetically form?

The five-year extensive research and design work that was undertaken by the author until
1981 included the investigation and studying of the work of all the great makers keeping however,
the work of Antonio de Torres Jurado as the reference point. The concrete aims were to determine
the specifically valid shape, which marked the instrument‟s character and not to purposely invent a
mathematical model unrelated however, with the “aesthetic” tradition of the instrument.

Finally, the existence of intricate

and synthesized mathematical
proportions and ratios evolved,
being supported by a geometrical
progression, constituting the
design of the perimeter-outline,
bridge and soundhole, all
determined by the chosen specific
string length of the classical
guitar. Antonio de Torres Jurado
guitars were the ones that 100%
agreed with the final prospect.

The mathematical model,

which is defined by these
proportions, did not evolve easily
because of the fine constructional
adjustments that were found in the

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different instruments analyzed. Furthermore, these adjustments were different for every guitar
analyzed, whether Torres or another maker made it.

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 The geometric progression supports the mathematical model containing, both simple and
intricate mathematical proportions and ratios, as well as constructional approximations and
dependences of an interesting historical and acoustical context also.

It will be seen, that the whole essence of the guitar‟s shape and context is directly related
to the ratios and relations existing in the physical behavior of sound as expressed by the harmonic
spectrum, the specific tuning of the instrument, the ideal behavior of strings and the diatonic system.

This multi-interconnection in the relations combined with the acoustical function of the
perimeter-outline, creating “standing wave zones”, specific enhancement of preferred resonant
frequencies of the chamber and control of the “wolf tone” production, gives satisfying answers to so
many questions put forward by many in the past.

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 Questions that really have bothered the minds of everyone but remained un-answered:

1) What determines the location and size of the sound hole and the bridge?
2) Why this shape?
3) What is the real magic about the 65-cm scale length?
4) What is the “aesthetic” and acoustically ideal curvature of the outline?
5) Why does every experiment lead back in a mysterious way to the center of the
tradition, that center being Antonio de Torres Jurado?
6) Why did Hauser and so many other luthiers copy instinctively and through
experience obtained in construction the work of Antonio de Torres Jurado?

With this information at your hands all these above questions can be answered by
yourself because you now have here in this article, all the information that was hidden in the
mysterious, wonderful and so beautifully designed aesthetic shape of the Antonio de Torres
Jurado guitar. The five year research by the author was an adventure into the so-called reverse
engineering process and it was like trying to play a game of chess that two champions played and the
goal was to find all the exact moves they made on the game, where however, only the last two moves
of the game were really revealed.

One can always argue that all these proportions and ratios evolving from the
mathematical model and geometrical progression of the classical guitar is a game of luck, a plain
coincidence of factors that somehow the author related them to the guitar itself and that they do not
belong to the tradition of the instrument.

However, the model is so intricately and accurately constructed mathematically and as

it will be proven, so acoustically modulated and refined that it excludes its coincidental relation to
the traditional classical guitar. Furthermore, one of the most creditable and experienced luthier of the
20th century, Maestro Jose Ramirez III confirmed publically in so many ways its absolute and
immediate connection with the work of Antonio de Torres Jurado.

What remains for the luthier, the guitarist and the historian is the understanding of its
mathematical construction, followed by the acoustical effect and value it provides to the finished
guitar, a matter which has been done with success all these 35 years since its initial publication.
Many luthiers and guitar construction houses and companies have included it in their construction
and had considerable success in their guitar‟s sound quality production. The model‟s application
includes the behavior of the model if applied 100%, along with the results that will be produced
when adjustments to it are made and also, what will the results be if it is not applied at all.

It is necessary for someone to understand and study a few matters concerning the
behavior of sound in general, the ratios that exist in the harmonic series, the diatonic system, the
equal temperament and the unique function of the guitar as a performance instrument, in order to
comprehend in full the acoustical value of the mathematical model and furthermore its acoustical
detailed behavior and function.

Please see below how all the equations of the mathematical model interconnect all
the guitar’s dimensions not only within their relations to a mathematical synthetically formed
relationship but also connect all these mathematical relations of the dimensions of the guitar, to
the ratios that exist in the harmonic series, the diatonic system, the equal temperament and the
relations of the open tuned strings of the guitar and all their adjacent frets throughout the
fretboard.

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GOLDEN SECTION AND GOLDEN RECTANGLES OF THE “MATHEMATICAL
MODEL AND GEOMETRICAL PROGRESSION OF THE GUITAR”
Also: a) The harmonic series and the model of its ideal behavior simplified b) equal temperament
and just intonation and c) description of the beat frequency conflict produced by the deviations
between simultaneous sounding of harmonic partials and prime frequencies and how it affects the
tone and timbre of the guitar.

Beginning in the Renaissance, a whole rebirth of literature occurred that encouraged the use
of the golden ratioi in the dimensional relationship of many objects that aimed to possess an aesthetic
and pleasing form.

These objects include buildings and statues as was done in the ancient period ii as well as
forms found in paintings, books, instruments etc. and this repetitious practice of applying either the
golden section or the golden rectangles to the forms of the constructed objects engaged most
branches of the arts and sciences.

The golden section is a ratio based on the Greek letter phi iii written usually in lower case (φ)
(=1.618033988749895…). It is also known as the Golden Mean, Golden Ratio and Divine
Proportion as defined by Renaissance artists. Fig. 1. illustrates the geometric relationship and the
algebraic expression that defines this constantiv.

Fig. 1.

The golden section

constitutes a line
segment divided
according to the
golden ratio. The
total length a + b is
to the longer
segment a as a is to
the shorter segment
b.

The golden ratio is expressed as the golden sectionv of the line segments and also in the form of the
golden rectangle, in which the ratio of the longer side to the shorter is the golden ratio. Both these

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forms involving the line and the two dimensional rectangle have been used extensively at least since
the Renaissance by many artists and architects in defining the proportions of their work.

Fig. 2. illustrates the construction of a golden rectangle.

Fig. 2. The construction

of a golden rectangle

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Fig. 3. illustrates the golden section found in line segments a and b and also the three golden
rectangles found in “The Kertsopoulos mathematical model of the guitar”

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 Fig. 4. The six additional golden rectangles found in “The Kertsopoulos mathematical model of
the guitar”.

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 When a sound includes vibrations of one and only frequency, is named a simple tone. Most
musical instruments produce compound-complex tones, each tone producing a combination of many
frequencies, which however, are comprehended by the human perception as a unity that forms one
whole sound and this unique function of the human hearing conception has been named fusion.

The lowest frequency within the compound tone is called the fundamental or prime and by
being generally the loudest, conveys the sense of pitch of the tone, ex: C,D,E etc.

The other frequencies of the compound tone are called harmonic overtones or harmonic
upper partials. These two definitions clarify the relation that exists between the fundamental or prime
frequency and all the other frequencies or simply harmonics.

Their relation with the fundamental is expressed in whole-number ratios. This relation of
the harmonics that defines the synthesis of every musical compound tone is called harmonic series.

Every harmonic overtone has a simple ratio relation with the prime. The ideal frequency of
each overtone being an integer multiple of the prime, depending on the ordinal number the specific
overtone holds within the series, ex: the fifth harmonic of E = 82.4 Hz is 82.4 x 5 = 412 Hz = g‟#.

The word ideal is very important to be noticed because in real performance conditions of an
instrument there are serious deviations occurring in all its musical sound productions in regard to the
expected ideal frequency of each harmonic in its relation with the fundamental.

Of course, the ideal model of the harmonic series defines specific harmonics that will
deviate upwards or downwards from the expected ideal frequency but in actual performance
conditions all instruments have various deviations even on harmonics that the ideal model defines as
stable.

The ideal behavior of the harmonic series remains the same for all musical tones. Every
instrument though has its distinct sound, because of the fact that it deviates variably in its own
peculiar manner from the ideal model itself. There are many additional factors involved that can be
found on the specific presence in relative percentage value of each harmonic of the compound tone
or the specific waveform outline of each harmonic or the noise presence that might occur in-between
the harmonics.

All the harmonic overtones and including the prime, are called generally: harmonic
frequencies or simply harmonics, the 1st harmonic being considered the prime and the 2nd harmonic
being the 1st harmonic overtone.

For reasons of clarity the term prime will be used in this series and the term “harmonic” for
the harmonic overtone, the 2nd harmonic being considered to be the 1st harmonic overtone.

It can be observed, that the just ratios which form the common traditional interval names of
the diatonic system, evolve directly from the whole-number ratios existing within the harmonic
series. Also, because of their association with the intervals found in the harmonic series, intervals
such as 2:1, 3:1, 3:2, 4:3, 5:3 are often called natural intervals. A perfect fifth that is expressed with
the ratio 3:2 is formed by the third and second harmonic of the series.

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 By dividing the numbers 2,3,4,5,6 with the corresponding numbers 1,2,3,4,5, we obtain the
just ratios on the left that also give the equivalence of the traditional interval names and in each
parenthesis the interval inversions are shown in fig. 5:

Fig. 5. The just ratios, the traditional tonal interval names and the interval inversions.

Harry Partch distinguishes between the 16:9 “small just „minor seventh‟” and the 9:5 “large
just „minor seventh‟”. Also, the 16:15 ratio concerning the semitone in its most common form in just
intonation takes a different value in 12-tone equal temperament, which is a form of meantone tuning
where the diatonic and chromatic semitones are exactly the same, due to the unbreakable circle of
fifths.

In equal temperament used by the guitar‟s fret locating idiom, each semitone is equal to
one twelfth of an octave. Every frequency is multiplied by 1.059463094 (1.05946 is regarded
adequate) to reach the frequency of the next higher semitone. This ratio being the twelfth root of 2 (
12
2 ) is equivalent to 100 cents but it is 11.7 cents narrower than the 16:15 ratio found in just
intonation.

These are basic discrepancies occurring from the necessity of having fixed metal frets on
the modern classical guitar, which obligate it to play in equal temperament. Contrary to this habit,
the baroque and renaissance guitar or lute used gut frets that were movable to compensate for these
important peculiarities and problems arising from conflicting tuning practices.

How do these conflicting discrepancies affect the tone and timbre output of the
modern classical guitar?

If for example we play the sixth string (E=82.4 Hz), it includes in its harmonic content the
note g‟# as fifth harmonic with frequency value: 82.4 x 5 = 412 Hz. The g‟# found on the fourth fret
of the first string, gives for its prime frequency 415.26 Hz derived by multiplying the first open
string (e‟=329.6 Hz) by 1.05946 and also repeating the procedure for each next frequency until the
fourth fret is calculated.

Between the g‟# (fifth harmonic of the sixth string) and the g‟# (prime frequency found on
the fourth fret of the first string) there is a noticeable audible difference in frequency of more than 3
Hz that creates beats at a rate of a little more than three full vibrations per second. Beat frequencies
are created when two or more frequencies have a small difference in Hz value when sounded
simultaneously.

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 This creates an audible distinguished harshness to the sound that is not pleasant when the
notes are played simultaneously and this problem is carried on in all the frequencies of the
instrument. If one adds the possible deviations from the ideal behavior of the harmonic spectrum that
are inevitable to occur, meaning that the fifth harmonic partial of the sixth string might deviate on the
specific guitar even more downwards in its response, than the problem of tone harshness of the
instrument becomes even greater.

This beat frequency problem occurring between the conflicts of the harmonic partials in
their simultaneous sounding with the prime frequencies of the same notes with occurring
discrepancies cause harshness and also loss in the beauty of the tone. The cause for this acoustical
and musical problem lies mainly in the relation that exists between the harmonic series behavior and
the necessity of having a fixed fretted instrument.

Not few guitars, while they possess an outstanding sound in volume in general terms,
however, present a harsh and unpleasant feeling when the beat frequency problem is there and it was
not solved acoustically in the design of the construction of the instrument.

If this problem is not solved by the acoustic design of the reverberation chamber (the
functional properties of the inside space of the instrument that will be a direct result of the defined
chosen outline) it will remain a main disadvantage for the tonal and timbre qualities of the guitar.

The mathematical model of the guitar provides various solutions to this specific tonal
problem that is pinpointed and specifically defined here.

Fig. 6. Classical
guitar constructed in
2010 by the author
incorporating “The
mathematical model
of the guitar” with
his innovational
mechanism of the
right hand pedal
effect shown (left)
and the overlaid with
acoustical wooden
stripes back and
sides (right).

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 Dedication of Jose Ramirez III

English translation:

In Madrid the 8th of April of 1983

The work realized by

Y.Kertsopoulos on the mathematical
solutions of the dimensions of the
guitar deserves all my respect and
admiration, not only from its
scientific scope but also for being a
serious study that enlightens some
dark matters concerned with the
forms of the instrument not defined
sufficiently by tradition.

With my congratulations,

Jose Ramirez

A classical-flamenco guitar soloist, composer, professor, luthier and string constructor, the
Greek – Canadian Yorgos (Georgios) Kertsopoulos is also a researcher, inventor, author and founder
of "the Guitar's Mathematic Model and Geometric Progression" (DAS MUSIKINSTRUMENT, Heft
9/ Sep. 1984, in German and English "The Physics of the Guitar"- Presentation of the same at the
International Music Messe-Frankfurt, College of Furniture-London and seminars to respected
luthiers and guitarists of England invited by GUITAR magazine. The first publication was in Greek
at the Greek magazine “IHOS”, issue 116, in November 1982)…. his work is so unique in its
scientific approach but also so full of traditional truths, it includes everything...Jose Ramirez (at the
press conference given by Y.Kertsopoulos at the Music Messe in Frankfurt-1983). His work as
“Kertsopoulos aesthetics” involves the constructional revival of the different forms, tunings and
sound timbres the guitar possessed in its history.

…These guitars possess antique sounds, sounds with an ancient charm. Amalia Ramirez 7 Feb. 2009.

Yorgos is the author of: "Space-Time Theory Vol. A' The Philosophy of Space-Time"
and inventor and international patent holder of “Magnetic system of three interactions” with
international patent number: WO2013136097
https://www.linkedin.com/pulse/20140617164225-27573905-magnetic-invention-wo2013136097-
magnetic-system-of-three-interactions

23
Maestro Jose Ramirez III commenting and Mrs. Ramirez translating in English, at the
conference-interview given by Yorgos Kertsopoulos at the premises of the MUSIK MESSE in
Frankfurt in Feb. 1983, where Yorgos presented the “Mathematical Model and Geometrical
Progression of the Guitar”. A great appreciation and gratefullness from my heart, for the
generosity and kindness the great Maestro Jose Ramirez III expressed for my work.

Yorgos (Georgios) Kertsopoulos presenting the Model at the

above mentioned conference-interview.

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Bibliography:

- The Torres guitars‟ photos in this article are from “ORFEO” magazine no 9 - Spring 2017
found in the article: Antonio de Torres Jurado, “The concert guitar was born in his hands”.

Note concerning this article:

This article including all its contents can be shared freely as it is and not in part, since, it is
completely free and it is provided in the public domain free of charge for educational purposes and
reasons and not for profit.

Since it includes internationally protected copyright material, please do not copy or reproduce it in
part or in whole for any other purpose than the above described, of free distribution as a whole file
and if you would like to copy it or reproduce it in any manner other than the free sharing as a whole,
then, please contact the author for obtaining permission at my email address:
gkertsopoulos@yahoo.gr

Please also view the article with the title: GOLDEN SECTION AND GOLDEN RECTANGLES
OF THE “MATHEMATICAL MODEL AND GEOMETRICAL PROGRESSION OF THE
GUITAR” BY: Yorgos Kertsopoulos.

Thank you,

All the best,

Yorgos (Georgios) Kertsopoulos

About the model:

http://mathematicalmodelguitar.blogspot.gr/
https://www.facebook.com/gkertsopoulos/media_set?set=a.10200293007421866.1073741835.10541
20466&type=3
http://kertsopoulosaesthetics.blogspot.gr/
https://www.facebook.com/gkertsopoulos
https://www.facebook.com/kertsopoulosaesthetics/

25
About Yorgos‟s work on magnetism:

26
https://www.facebook.com/16magneticinteractions/
https://patentscope.wipo.int/search/en/detail.jsf?docId=WO2013136097&recNum=255&docAn=GR
2013000015&queryString=robotics&maxRec=46480
https://www.linkedin.com/pulse/20140617164225-27573905-magnetic-invention-wo2013136097-
magnetic-system-of-three-interactions
https://wo2013136097.blogspot.gr/

i
The first known written definition of what is now called the golden ratio is provided in Euclid‟s Elements (Greek:
Στοιχεία): “A straight line is said to have been cut in extreme and mean ratio when, as the whole line is to the greater
segment, so is the greater to the less”.
ii
Many studies of the Acropolis, including the Parthenon note that many of its proportions approximate the golden ratio,
where the Parthenon‟s facade and its elements are designed with the inclusion of golden rectangles.
iii
Mark Barr (20th century) suggests the Greek letter (φ), the initial letter of Greek sculptor Phidias‟s name, as a symbol
for the golden ratio.
iv
Very useful has been the (inverse) golden ratio also commonly referred as the golden ratio conjugate and denoted by
the capital Phi (Φ): Φ = φ – 1 = 1.6180339887… – 1 = 0.6180339887…The first known approximation of the Φ was
written in 1597 by Prof. Michael Maestlin in a letter to his former student Johannes Kepler.
v
The golden section was used in the design of Notre Dame in Paris and continues today in many examples of art,
architecture and design and used also in movements in the stock market.

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