A = 432Hz Is a Bunch of B.S.

After researching, experimenting and recording with this tuning as we as going into the mathematica aspect of it and oo!ing at the historica use and reasons I can honest " sa" that a most e#er"thing written a$out it on the internet and $" %ames &uria 'one of its main and original propagators mixed with ideas of Carl Munck ( is a bunch of BULLSHIT. I first heard of this tuning man" "ears ago when I rented a #ideo tape from a oca i$rar" ca ed )eomusic. I was intrigued $" the ideas, *science+ and reasoning. But I rea ized it is an"thing $ut scientific or $ased in an" significant e ements or d"namics of rea it", ogic or $asic mathematics. I norma " wou dn,t care what peop e thin! of this tuning, $ut after seeing so much on the internet and peop e $u"ing into the m"stica crap associated with it and e a$orating some of its ideas to ridicu ous e#e s, especia " demonizing A=44-Hz I decided to write m" #iews on it and gi#e it a rea istic opposition $ased on facts, and set it in proper perspecti#e at east with some of its $asic foundations.

Scientific .itch / = 201Hz is A = 43-.03Hz

2he first assumption is that A = 432Hz is $ased on the perfect $asic round num$ers '3th power of 2( or their octa#es dou$ ed to ma!e / = 201Hz4 5 6 5 = 2, 2 x 2 = 4, 4 x 2 = 7, 7 x 2 = 51, 51 x 2 = 32, 32 x 2 = 14, 14 x 2 = 527, 527 x 2 = 201. A so assuming this is $ased on ."thagorean mathematics has a$so ute " 89 :;I<:8/: I8 HIS29=>, and is mere specu ation and de usion. And IF the ."thagorean monochord was an"where near 201Hz it certain " wasn,t attri$uted to the note /. I show and pro#e the monochord open note was ca ed ?G, and $ased on the o dest written e#idence ? THE "DIALOGUS" OF PSEUDO-ODO THE FIRST USE OF ROMA LETTER OMI ALS MODULO A B ! D E F G AS MUSI! OTATIO http4@@tona soft.com@enc@p@pseudoA odoBdia ogus.aspx and in m" wor! ?/ assica 2uning and &reCuencies, which I go into further detai . 8ow et,s ta!e 201Hz and x it $" 5.-034135 'the standard formu a for each ha f step in :Cua 2emperament 2uning and how actua instruments wor! with rea freCuencies and notes with the decimal, mantissa( and see what we get4 ! 201 x 5.-034135 = 2D5.22E !" 2D5.22E x 5.-034135 = 27D.30E D 27D.30E x 5.-034135 = 3-4.43E D" 3-4.43E x 5.-034135 = 322.03E E 322.03E x 5.-034135 = 345.D5E F 345.D5E x 5.-034135 = 312.-3E F" 312.-3E x 5.-034135 = 373.01E G 373.01E x 5.-034135 = 4-1.3DE G# 4-1.3DE x 5.-034135 = 43-.03E

A = 43-.03Hz 892 432Hz

2his is achie#ed with an" ca cu ator and !e"ing in 201 x 5.-034135 and hit the = $utton 3 times, #er" simp e. And if ;erdi used A = 432 tuning for / = 201 then his math was wrong and an" mathematician cou d,#e figured this out. Actua *Scientific pitch+ or *.hi osophica .itch+ suggested $" the &rench ph"sicist and mathematician %oseph Sau#eur was ! # $%&H', A # ()*+%(H'. 2his is common historica !now edge.

: in A = 44-Hz achie#esE
E#er" nice num$ers when the octa#es are ta!en down into the inaudi$ e su$ freCuencies. E) is 514.753DD524E in A = 44-Hz. Fhen the note : is di#ided $" 2 for each ower octa#e = 72.4- @ 2 = 45.2- @ 2 = 2-.1- @ 2 = 5-.3- @ 2 = 0.50 @ 2 = 2.0D @ 2 = 5.27 @ 2 = .&( @ 2 = .)$ @ 2 # +,& @ 2 = .*- @ 2 = .*( @ 2 = .*$ @ 2 = .*,E etc. 2hese num$ers are achie#ed $" #iewing them two p aces after the decima point. And is a $etter examp e of ideal num$ers ma!ing up a wa#e $ased on num$er significance, IF THERE IS A . SIG IFI!A !E AT ALL. 2he rea it" is it can go on and on di#iding. A sound wa#es 'notes( ha#e the decima in#o #ed in producing them and their ha f steps and o#er and undertones surrounding each note regard ess of tuning, SO THERE REALL. !A E/ER BE A PERFE!T TU I G BASED O 0HOLE UMBERS. If "ou di#ide E) 514.753DD524 $" 2 nineteen times "ou get . ---),(30D325E which can $e #iewed c ose to PI 3.54E 4A( 2he un$e ie#a$ e ie I,#e seen on the internet that A = 44-Hz somehow on " wor!s with ?7 notes of the diatonic sca e, is co12345436 s5u2i7 an7 i33o8ica3 . It,s amazing that an"$od" wou d e#en entertain that idea, and those promoting it tru " don,t !now what the",re sa"ing or writing or rea " understand music or instruments and the science or $asic ogic of how the" function. An" note regard ess of tuning on an" instrument wi resonate o#er and undertones of that fundamenta note $ased on a !inds of acoustic factors of woods, string materia , engths, tensions etc. I2 IS IG.9SSIBH: &9= 2H: 52 892:S 892 29 F9=I FI2H 2H: SAG: HAFS A8< .=I8/I.H:S 9& =:S98A8/: A8< A/9JS2I/S =:)A=<H:SS 9& 2J8I8), AS H98) AS 2H: 2J8I8) IS FI2HI8 =:AS98 9& 2H: 9=I)I8AH I8S2=JG:82 <:SI)8. Th494 is abso3u5436 no sci4n5ific o9 1a5h41a5ica3 basis fo9 5h4 743usion of A # ()$ 94sona5in8 b45549 :i5h 5h4 ,$ ch9o1a5ic no54s+ 2he m"stica aspect of A=432Hz with an" cosmic significance is another mere se fAde usion and ie. I ha#e nothing against m"stica ideas $ut et,s $ase them in some facts or at east use them in perspecti#e with the wa" science and math wor!s since the information usua " presented on A=432Hz tries to appear scientific and historica . 9ne must !eep in mind the decima is in#o #ed when using num$ers for Hertzian wa#es and their exponentiation whether for ha f steps or for o#ertones and harmonics, and there is no getting around that nor can it $e exp ained awa". 2he Jni#erse doesn,t prefer

A=432Hz an" more than an" other freCuenc". >es 432.1DHz is reached when descended in ha f steps from the Speed of Hight 571,272 per second, which is calculated in a vacuum. Hight speed #aries and depends great " on the medium and is arbitrary, and that,s wh" I chose instead resonance with it in a more tangi$ e aspect4 =e#o #ing around the earth and $ased on D.43Hz in m" wor! *Speed of Hight 2uning+. But e#en this is Kust another choice for tuning no $etter than an" other.

.HI 5.157-3333 is c ose to A = 44-Hz

Fhen "ou oo! at .hi as a freCuenc" 5.157-333 x 5.-034135 per ha f step "ou get E) 514.37, u2 5o F) i5 is a31os5 i74n5ica3 in A # ((*H'+ After &3 it is on " off $" ess than 5.0 Hz and if "ou !eep going exponentia " it reaches 437.74, and after that a few Hz off for the who e audi$ e rangeL 9rigina modern standard tuning incidenta " was set to A = 433Hz $ut $ecause of difficu t " in producing 433Hz tuning for!s A = 44-Hz was sett ed upon. A so the )iza ."ramid coffer according to /hristopher <unn in his exce ent $oo! 2he )iza .ower . ant said ?the coffer resonates 433A44-Hz, and the $eams a$o#e it resonate o#ertones of these freCuencies as we . 9thers ha#e a so consistent " measured these freCuencies from the ."ramid. So if "ou,re going to $ase a tuning with p"ramids or m"stica meaning Phi is 5h4 nu1b49 of na5u94 an7 a22a94n5 4;496:h494 f9o1 5h4 cos1os 5o 5h4 na5u9a3 :o937 an7 5o hu1an b4in8s, an7 A # ()<H' is in 94sonanc4 :i5h i5 an7 A # ((* is c3os4 4nou8h+

Stradi#ari,s #io ins were not tuned to A= 432Hz

2here is a$so ute " no e#idence for an"$od" to assume Stradi#ari used A = 432Hz in an" preferred wa" for his instruments. :ar " c assica music was written and p a"ed in a #ariet" of tunings and pitch ca i$ration, and an"$od" can easi " research this on the internet. A = 44-Hz was anecdota and finding a happ" medium $ecause the truth is ower and higher tunings were used in the past. Huthiers and instrument ma!ers made a !inds of instruments for a #ariet" of tunings, there was no consistent agreed upon standard 'or secret !now edge( for A = 432Hz, and it,s simp " a ower tuning, "es some opera houses preferred it at one point in time and others didn,t4 http4@@www.do metsch.com@musictheor"2D.htm

/onc usion
A = 432Hz is nothing more than a ower tuning from A = 44-Hz, if "ou i!e it that,s fine use it, $ut it,s not an" $etter than an" other tuning and it,s Kust reducing higher spectrum harmonics and o#ertones Menerg"N from A = 44- $" 7Hz, which in the higher ranges exponentia " noticea$ e wi $e ower freCuencies more audi$ e simp " $ecause it,s a ower tuning. Fith some instruments it ma" $e easier to p a" on, or for some

singers ess strain on the #oice, and that,s a$out it. 2here is no m"stica power in it and it,s not perfect, nor $ased on perfect num$ers, science, math or a hidden m"stica tradition whatsoe#er, and the significance some ha#e put on it is nothing $ut a figment of their imagination.