A Handbook on the Middle Tuning

Second Edition with corrected and improved tuning indications

Bevis Stevens Maria Renold

The Scale of Twelve Fifths

A Handbook on the Middle Tuning
Second Edition with corrected and improved tuning indications

A temperament founded on the tones c = 128 Hz, gelis1 = 362.41 Hz and a1 = 432 Hz

Gelis is Marias term for her newly discovered tone corresponding to f sharp. See further the
Explanation of Terms

Private Press
First Edition, Copyright 2006
by Bevis Stevens, Dornach Switzerland

Second Edition 2012

Havelock North New Zealand
Email: stevens@eurythmy.co.nz

Contents
Forward to the second edition!

Forward to the first edition!

Background!........................................................................................8
Why a new concert pitch? Why a new temperament?!...............................10
Origins!............................................................................................................10
Aural experiments!.........................................................................................11
The mathematical-cosmic origin of the frequencies C = 128 Hz and A =
432 Hz!.............................................................................................................11
Table 1
The 10 x 7 factors of the Platonic cosmic year ........................................12
Table 2
Intervals of the major scale.......................................................................13
Table 3
Intervals of the minor scale ......................................................................13
Qualitative characteristics!............................................................................13

New discoveries!...............................................................................16
Open intervals!..............................................................................................18
Table 4
Measurements of the double octaveInterval sizes in cents ....................18
The secret of the fifths!..................................................................................18
Table 5
Fifths and Fourthsinterval sizes in cents ................................................19
Table 6
Oscilloscope pictures of differently sized fifths .......................................20
Table 7
(Renold, 2004, p. 136, fig. 4)....................................................................20

Tuning instructions!..........................................................................22
The structure of the scale of twelve fifths!..................................................24
Tuning instructionsMaria Renold!...............................................................24
Tuning open fourths and fifths!.....................................................................24
Table 8
Difference tone of the fourth ....................................................................25
Table 9
Difference tone of the fifth .......................................................................25
Table 10
Tuning to the scale of twelve fifths - Renold ...........................................28
The Ideal Mathematical Representation!......................................................29
Table 11
Tuning instructions Davis......................................................................29
Table 12
Offset for Renold 2 for the Tuner .............................................................30

Appendix!...........................................................................................31
Experiences in doing Eurythmy with the Middle Tuning!...........................33
Explanation of Terms!....................................................................................35
Bibliography!..................................................................................................36
3

Forward to the second edition

Since writing the first edition I have learnt to tune the piano myself and Paul Davis
appendix to Maria Renolds book (2004) became understandable. This made me aware of the
fact that following her and Thommas indications (Renold, 2004) actually results in a third
version of the tuning! Although I like it, as it has even more key colour, it is not what Maria
intended. Now Paul has further refined the mathematically ideal tuning to a point where it
accurately represents Marias intentions. This has made a total revision of the whole tuning
section necessary. I have kept Marias description of the tuning method, abandoned those
given by Henken and Thomma and laid out the tuning in the style developed by Jorgensen
(1991) which is generally known and accepted by tuners worldwide.
On a historical note: The research of Michael Kurz at the Goetheanum has shown
that Rudolf Steiner could not have given an indication for the pitch of the A = 432 Hz to the
recorder maker Ziemann-Molitor. However this does not affect the validity of this concert
pitch for Marias temperament as it results as a matter of course when beginning from her
original starting point of Steiners recommendation for C = 128 Hz. As a result the merits of
A = 432 Hz will be still covered.
Bevis Stevens March 2012

Forward to the first edition

This booklet is an attempt to satisfy the need for a short introduction into the twelve
fifthtones scale. It is directed towards all interested people who wish to have their instrument
tuned in this tuning, as well as professional tuners who require a handbook. Although this
booklet follows the content of, and in deed adds to Maria Renolds book (2004), it by no
means replaces it. This booklet deals with the twelve fifthtones tuning alone, whereas
Renolds book also goes into the construction and historical development of the Western
scales and the origin of their tones and intervals, researches why the human ear experiences
some intervals to sound false, while others sound genuine, and verifies the existence of an
ethical effect of the pitch of single tones. Renold also looks into various remarks on music
and specifications given by Rudolf Steiner2.
There are two versions of the tuning. The first was discovered in 1962 (Renold,
2004, p. 57).3 Over the years, the tuning was developed further and new discoveries made a
second more beautiful version of the tuning possible. It is the second version of the tuning,
which will be introduced here.
Bevis Michael Stevens, June 2006

The Founder of Anthroposophy. See also footnote 4

3 After

Renold discovered the 1st tuning method, she found out, more or less by chance, that
Henricus Grammateus had already constructed the scale mathematically in 1518 (Jorgensen, 1991, p.
332). Because it has often occurred that Renold has been accused of simply copying this scale, it must
be stressed that it was a new discovery, through hearing and not through mathematical construction.

Background

Why a new concert pitch? Why a new temperament?

One may well ask: why use a different concert pitch, havent our ears long become
accustomed to a = 440 Hz? Understandably this question is often posed by musicians who
have the so-called gift of absolute pitch. But the definition absolute pitch is misleading, as the
pitch to which this ability is set varies greatly. Therefore absolute pitch cannot be used as a
guide to determine the correctness of a concert pitch. The correctness of a pitch is of course a
contentious issue but Maria Renolds research shows that small variations in the pitch of a
tone give rise to remarkably different qualities. The Concert pitch A = 432 Hz is a result of the
temperament itself which takes its starting point from Rudolf Steiners recommendation for
the pitch of C.
But what does one want to achieve with yet another tuning method? Is our equal
tempered tuning not perfect enough already? Yes indeed, but its equalness ultimately
lessoned and restricted musics expressiveness and variation in tonal colour. The intention is
therefore not one of wanting to replace something or wishing to find something better, but
rather one of expanding the expressive possibilities of music and thereby enriching our
musical experience. Qualitative differences between pitches are often first noticeable when
directly compared. One is then often amazed at the great effect that small differences in the
pitch of a tone can have. Furthermore it is striking how quickly one can get used to a new
temperament and its concert pitch.
It needs to be added at the outset that this new method of tuning arose through
hearing and not through theory. Therefore in order to evaluate the tuning it is necessary to
hear it! Herewith a limitation of this booklet is addressed. However, an attempt to describe
this tuning and talk about its attributes as well as giving tuning instructions will be made

Origins
The experiences that Maria Renold had on the one hand as a violinist and violist in
the internationally renowned Busch Chamber Orchestra and Busch String Quartet and on the
other hand with eurythmy 4 were important. Her tonal world was one of perfect fifths and socalled Pythagorean tuning. The discrepancy posed by equal-tempered tuning bothered her.
She wondered if it werent possible to tune the piano in a way, which didnt sound so false to
her string-player ears.
In 1962, beginning with a diatonic scale based on perfect fifths, Maria Renold found
the five chromatic tones between them through inner listening. As these are in the middle of
the other tones, they are mathematically geometric mean tones. The result was a scale in
which all major and minor keys could be played and which sounded aurally genuine, having
more tonal variation and key colour than equal temperament. Renold called the resulting scale
the scale of twelve fifths. She continued to experiment and develop the temperament and a
second version was published in 1991. The two versions are often referred to as Renold1 and
Renold2. Renold2 is also known as the Middle Tuning by which it is referred to here
because of its grounding, centering quality and the way it speaks directly to the middle of the
human being, to the heart. It has a sun-like, radiant quality.

The art of movement inaugurated by Rudolf Steiner. For more information on eurythmy go
to www.eurythmie.com and for more on Rudolf Steiner and Anthroposophy see www.goetheanum.org
or www.anthroposophy.org

10

Aural experiments
The first time the piano was tuned in the Middle Tuning, Maria Renold used the
concert pitch a1 = 440 Hz. It sounded nice but there arose an unsocial, hostile mood amongst
the members of the familya rare occurrence! Some time later, she heard of Rudolf Steiner's
specification c = 128 Hz, which in this method of tuning results in the concert pitch a1 = 432
Hz. The piano was retuned and harmony reigned amongst those present (Renold, 2004).5
Amazed by this experience of hers, Renold began to make countless aural
experiments in order to test the objectivity of her observation and to verify the importance of
Rudolf Steiner's specification6 . She tested musically trained and untrained people in America
and Europe.
She discovered that, although a1 = 440 Hz and c1 = 261.656 Hz were the more
familiar pitches, over 90% of those tested preferred a1 = 432 and c = 128 Hz and its octave
256 Hz. Some statements for C were:
c1 = 256 Hz belongs to the human being, gives space, sounds peaceful, pleasant and
full and sounds as prime within the whole human being.
To c1 = 261.656 Hz over 90 % said it sounded jabbing, irritating, unpleasant, heady,
intellectual, makes one nervous
Further experiments were made with the correspondingly lower C, c1 = 252 Hz.
Those tested said that this tone gives rise to a feeling of bodily comfort, made one drowsy, but
at the same time had a calculating, merciless quality
Thus Renold showed that a sense for the ethical quality of a tone described by the
Greeks, still exists today, and that it was important to take this fact into account in the
development of a new method of tuning. Further results of these experiments can be found in
her book (Renold, 2004, pp. 76-79).

The mathematical-cosmic origin of the frequencies C = 128 Hz and A = 432

Hz
Everyone discovers soon enough that numbers have a lot to doing with music. They
are connected with all kinds of rhythms and are thereby capable of showing the correlation
between macrocosmic rhythms, microcosmic rhythms and musical harmonies. Numbers are
not allegations but are pure phenomena, and as such enable us to gain the required objective
basis.
Music has a very interesting and important connection to time. If something (e.g. a
string) moves 16 times, and the speed at which it does so is fast enough for us to hear it, we
can say with certainty: that is a second. We are unable to hear one cycle per second, but one

In this connection it is interesting to note that Rudolf Steiner originally gave this
specification to Kathleen Schlesinger who had noticed that her newly rediscovered modes (1939) had
different effects on the listeners, depending on what pitch they were tuned to.
6

For a while the story has been upheld that Rudolf Steiner suggested the concert pitch of
a=432 Hz be used on the flutes built by Mr and Mrs Ziemann-Molitor for the second Waldorf School.
However recent research made by Michael Kurtz (responsible for the music department at the Section
for Eurythmy, Speech, Music, Puppetry and Drama at the Goetheanum, Switzerland) has proven this
to be a myth. However, as Marias Temperament gives rise to this concert pitch as a matter of course
when taken from c=128 Hz, and because tuning usually begins with A the merits of this pitch are also
gone into here.

11

cycle times 24 (2 x 2 x 2 x 2) is 16 Hz, which is the lowest tone we are able to hear. 164 = 128
Hz, i.e. 128 Hz7 is the 4th octave of 16 Hz.
Table 1

The 10 x 7 factors of the Platonic cosmic year

1
2

x
x

25 920
12 960

8 640

6 480

5 184

4 320

3 240

2 880

10

2 592

12

2 160

15

1 728

16

1 620

18

1 440

20

1 296

24

1 080

27

960

30

864

32

810

36

720

40

648

45

576

48

540

54

480

60

432

64

405

72

360

80

324

81

320

90

288

96
108

x
x

270
240

120

216

135

192

144

180

160

162

7 Also
8

Herewith the number 128 finds its musical

substantiation, and at the same time its
importance for music and the human being. This
tone is also known as the philosophic pitch.
The number 432 is found in the harmony of the
rhythms contained within the so-called platonic
cosmic year, which takes 25920 years. This
number represents the progression through the
whole zodiac of the point where the sun rises at
the spring equinox.
The number 25920 has 70 factors, which are
connected to each other in a wonderful,
harmonic rhythm. E.g. 1 occurs 25920 times,
while 2 occurs simultaneously 12960 times, 3
8640 times etc. One of these rhythms is 432 : 60;
432 divides 25920 60 times. The number 60 is to
be found in the rhythm of the Saturn and Jupiter
conjunctions: the conjunction between Saturn
and Jupiter takes place every 20 years. Every 60
years they meet again at the point of departure.
Microcosmically, the cosmic number 25920 has
a connection to the average breaths a human
being takes in a day: 18 breaths a minute
multiplied by 1440 (60 minutes x 24 hours)
makes 25920.
This number corresponds also exactly with the
number of days, whichin accordance with the
old Babylonian year of 360 daysmake 72 years.
The statement of Rudolf Steiners, that
esoterically the human life spans 72 years, is
based on this. After this time the sun covers
another point of the heavens and releases the
star governing ones destiny .8 Thus we breathe
an average of 25920 times a day and our life
contains 25920 days (Glckler & Glckler,
2007, p. 186).

27 = 128.

See Rudolf Steiner, GA 237, lecture of 5th July, 1924

12

If we look more closely at the 24th to 48th factors we find the intervals of the major
scale: 24:27:30:32:36.40:45:48.
The intervals of the major scale begin with the prime on the factor 24. The
proportion 24:24, completely reduced, is the same as the proportion 1:1, i.e. the prime The
proportion 24:27, when completely reduced, corresponds with the proportion 8:9, i.e. the
second. And so on till 24:48 (1:2), the octave
Table 2

Intervals of the major scale

24 : 24

1:1

Prime

24 : 27

8:9

Second

24 : 30

4:5

Major third

24 : 32

3:4

Fourth

24 : 36

2:3

Fifth

24 : 40

3:5

Major Sixth

24 : 45

8 : 15

Major Seventh

24 : 48

1:2

Octave

The Classical intervals of the minor scale arise when we depart from the factor
360
Table 3

Intervals of the minor scale

360 : 360

= 1:1

Prime

360 : 405

= 8:9

Second

360 : 432

= 5:6

Minor third

360 : 480

= 3:4

Fourth

360 : 540

= 2:3

Fifth

360 : 576

= 5:8

Minor sixth

360 : 648

= 8 : 15

Minor seventh

360 : 720

= 1:2

Octave

So we find, hidden within the two factor rows, as a continuous proportion, the
intervals of the major and minor scales. Therein included is the number 432 [27]the
vibration frequency [Hz] of the archetypal concert pitch (Glckler & Glckler, 2007)
If we include the lower and higher octaves of 432, we discover that this concert pitch
appears 7 times within the 70 factors (27, 54, 108, 216, 432, 864 and 1728)

Qualitative characteristics
Because the size of the various types of intervals in the Middle Tuning varies, each
chord and consequently each key gains its own definite character. A modulation is thereby
experienced more strongly. Because of this an organ builder and piano tuner once said that the
Middle Tuning in comparison to equal tempered tuning is like a relief in contrast to a flat
map. Besides this enrichment in the keys, a greater sonority is achieved through the difference
tones, which arise through the size of the tuned fifths. 9 Because of this even upright pianos
sound a lot better as a result of the tuning.
9

For more about the difference tones, see Tuning open fourths and fifths below

13

In contrast to the bright, even tense-sounding equal temperament on concert pitch

440 Hz, the Middle Tuning is more relaxed and warmer. Many people experience that the
music speaks more directly to the heart and that the barrier between audience and music is
broken down.10
But enough has been said! Let us proceed to a discussion of the Middle Tuning itself,
before proceeding to the tuning instruction, so that you will be able to make your own
experiences!

10

See the Appendix for a report on doing eurythmy with the Middle Tuning.

14

15

New discoveries

16

17

Open intervals
The second method of tuning, which is introduced here, was made possible by the
discovery of open fourths and fifths, as well as the discovery that a genuine sounding octave
is bigger than the perfect proportion 2 : 1.Even though the latter is a surprise, stretching the
octaves has long become established tuning practice.
As a string player, Maria Renold was aware of the problem posed by the double
octave flageolet. In the lower regions it sounds flat because of the inharmonicity of the
strings; in higher regions in sounds low because of so-called psycho-acoustic reasons. She
made several measurements of the sizes of the double octave:
Table 4

Measurements of the double octaveInterval sizes in cents

Grand piano
Cello,
flageolet von c
Cello,
stopped

2404.6

2406.8

2411.4

2418.6

2398.7

2399.2

2399.8

Bechstein EN
c1 sounded too
low

2401,7

2404,4

2406,7

c1 sounded right

Note: If one multiplies the widest stopped double octave on the cello by the factor
3.5 ( = seven octaves), the result is the same interval as that of twelve perfect fifths; the
Pythagorean comma does not apply: 2406.7 x 3.5 = 8423.45; 701.955 [= cents of perfect
fifth] x 12 = 8423.46 (excerpt from Renold, 2004: Table 27)

The secret of the fifths

Maria Renold also discovered that different perfect fifths exist:
Further observations can be made with fourths and fifths on resonant instruments.
Grand pianos, harpsichords and pipe organs are best for first attempts because of the
required precision. Let us begin with the beat-free perfect fifth. It sounds peaceful, almost
solid. The lower octave of the fundamental hums along, totally absorbed in the sound, giving
a silvery colouring to the whole. If one minimally enlarges the fifthby either raising the pitch
of the higher, or lowering that of the bottom tonethe whole texture is set in motion. First of
all the interval vibrates violently, then it opens up and the fifth sounds peaceful and clear
once again but also wide. The difference tone emerges sonorously and sounds stable. Some
people recognise the openness of the interval by a relaxation in the area of the diaphragm. If
the fifth is enlarged further, the difference tone begins to beat, the sound loses its coherence
and the beats dominate. If one makes the fifth smaller than perfect, it immediately loses its
lustre and strength and grows milder and more inward. When the interval is smaller than a
perfect fifth, the difference tone does not stabilise, being weak at first then suddenly breaking
off. Where the beating sets in, the interval is roughly the same size as the equal-tempered fifth.
If one makes it still smaller, the fifth will be utterly calm again.
Much the same applies for the fourth(Renold, 2004, p. 129)

18

The fourth and fifths were also measured:

Table 5

Fifths and Fourthsinterval sizes in cents

Instrument

Interval

Comments

Open fifths, sonorous difference tone

Grand piano

703.5

702.9

704.2

Bechstein EN

Piano

703.4

702.7

704.2

Sabel

Violin

703.5

703.7

704.2

open strings, steel

Viola

703.6

704.0

704.8

open strings, steel

Cello

702.9

703.8

706.5

open strings, steel

Organ pipes

703.0

704.3

705.5

stopped

Perfect fifths. silvery difference tone

Cello

701.0

Organ pipes

702.0

702.2

open strings, steel

Stopped

Small fifth. no difference tone

Cello

698.5

699.0

700.4

open strings, steel

Open fourths. sonorous difference tone

Grand piano

499.7

499.9

500.8

502.2

Bechstein EN

Piano

499.6

499.9

501.3

502.3

Sabel

Chord zither

499.5

499.7

Organ pipes

499.7

499.9

500.9

502.5

Stopped

(Renold, 2004, p. 27)

19

Oscilloscope pictures of the different fifths were made:

Table 6

Oscilloscope pictures of differently sized fifths

Open fifth

Transition

Perfect fifth

Transition

Small fifth

Table 7

(Renold, 2004, p. 136, fig. 4)

20

21

Tuning instructions

22

23

The structure of the scale of twelve fifths

The octave proportion used here is: 2.003873819 which amounts to 1203.35 cents
Maria Renold specifies three pitches:
1. c = 128 Hz
2. a1 = 432 Hz
3. gelis1 = 362.4 Hz
The first one originates from Rudolf Steiner; the first was given to the musicologist
and rediscoverer of the Aulos modes, Kathleen Schlesinger, the second was given to Mr and
Mrs Ziemann-Molitor, the builders of the flutes for the second Waldorf School. Both tones
originate in the duodecimo row of c.
The scale of twelve fifths consists of two groups of duodecimo rows: the first of
seven diatonic open-fifth tones (F, C, G, D, A, E, B) which belong to the Pythagorean-Dorian
octachord, and the second from five geometric mean tones (Gelis, Alis, Belis, Delis, Elis).
The latter is built, beginning from the geometric mean of the minimally enlarged octave
(1203.350 cents) c = 256 Hz c1 = 512.99 Hz, gelis1 = 362.4 Hz and progressing in open
duodecimos.
The audible difference tones are an important part of the scale of twelve fifths. They
add resonance and fullness to the sound. Therefore Maria Renold recommends that instead of
tuning to octaves one tunes to fourths and fifths. But in the extreme regions this is impractical,
where octave tuning is necessary.

Tuning instructionsMaria Renold

The method of tuning is made up of three fundamental parts:
1. gelis1 = 362.04 Hz and Rudolf Steiner's pitch indications c = 128 Hz and a1 = 432
Hz (for these pitches it is necessary to have three tuning forks that must be
calibrated to within 0.5 Hz);
2. the open (minimally enlarged) octave, fifth and fourth intervals which, despite
background beating, sound totally calm and open and have sonorous difference
tones;
3. tuning in contrary direction of the Apollonian Sun scale: the pre-Christian
descending direction of the true Dorian octachord and the Christian ascending
direction of the true-tone C major resurrection scale(Renold, 2004, p. chapter 19
and Table 11)...(Renold, 2004, p. chapter 24)
As can be seen through the measurements of the fourths and fifths above, it is
evident how exactly one has to listen in order to attain the required intervals.
The results of the interval measurements as presented in [Table 4 and Table 5
above] therefore showed a surprising variation in the size of the named intervals. This means
that the cents can only be a rough guide and that very exact hearing and the ability to
recognize these intervals is vital for successful tuning of the scale of twelve fifths. Every tone
must always be fine-tuned by ear.

Tuning open fourths and fifths

First tune a perfect fourth or fifth, making sure that the interval has absolutely no
beats. If it is perfect it sounds stable and the difference tone, though not strong, is clearly
audible and sounds silver. (Renold, 2004, p. 140)
24

Fourths are easier to tune as the difference tone is lower than that of the fifth and is therefore
easier to hear. The difference tone is the difference in frequency between the lower and upper
tone, e.g. 341.3 Hz (F) minus 256 Hz (C) = 85.3 Hz (F). Written musically this is as follows:
Table 8

Difference tone of the fourth

Fourth:

Differenzton:

An example of the fifth is: 384 Hz (G) minus 256 Hz (C) = 128 Hz (C), in notes:
Table 9

Difference tone of the fifth

Fifth:

Difference tone:

Next, enlarge the interval slowly. The interval will begin to beat intolerably: this
has often shocked piano tuners so much that they hardly dared to continue. Do not give in to
fear of beats, but calmly increase the interval in minute steps. The beats will gradually get
slower until they suddenly disappear altogether, the sound of the interval opens up and the
differential begins to sound strongly and sonorously these open fourths and fifths, together
with their sonorous difference tones, lend their richness of colour to the scale of twelve
fifths
[Table 9] gives a musically notated tuning guide. The open note head of each
interval indicates the tone from which one tunes, and the solid head the one to be tuned. The
diamond-shaped heads on the base stave show the differential of the interval directly above
The three tones on the extreme left indicate the tones c1 = 256 Hz, gelis1 = 362.40 Hz and a1 =
432 Hz. First tune these three tones as exactly as possible. They must equal the tone of the
tuning fork so exactly that they are beat-free. This is best achieved when one inwardly
experiences the tuning fork's tone and then recreates the experience on the instrument.
Tuning proceeds in the two directions of movement belonging to the Apollonian
scales: the pre-Christian descending direction of the true Dorian octachord and the ascending
direction of the true-tone C major resurrection scale. Starting with c1 = 256 Hz, tune an
ascending open fourth to f1 and open fifth to g1. Then tune a descending open fifth from a1 =
432 Hz to d1 and an open fourth to e1. From this e1, tune a descending open fourth to b and an
25

ascending open fifth to b1. The seven nonaltered diatonic fifth tones of the scale of twelve
fifths have now been tuned. The first open octave sounds between b and b1
As the two directions of movement meet in the fourth d1g1, the first steps must be
carefully tuned. The first formed fifth appears between b and gelis1. It sounds serious, but it
must be calm and totally harmonically acceptable. If this is not the case, look first for the
cause of the problem in the b which has probably been tuned too sharp, and not in the gelis1
which has been tuned from the tuning fork. Then go back to the descending open fourth a1e1
and check this thoroughly. Pay attention to tuning the e1 really flat enough. This fourth is wide
and open and is correctly tuned when its differential sounds really strong and sonorous like
the sound of an organ. The same applies to the descending fourth e1b. When these two
fourths are tuned correctly, then the formed fifth bgelis1 also sounds correct.
My experience has been that the descending fourths a-e and e-b need to be particularly wide,
otherwise the b is too high, resulting in an intolerable 5th b-gelis. A beginning help is to tune
the 5th b-gelis first. (it should have about 2.5 3 beats) and then tune the e to fit between the b
and the a.

Now proceed from gelis1 and tune a descending open fourth of the same size to
delis1, and from there an ascending open fifth to alis1; from alis1 a descending open fourth to
elis1 and from elis1 a descending fourth to belis1. The second formed fifth sounds between
belis1 and f1. What applied above is also applicable here: if the formed fifth belis1f1 sounds
wrong, go back to gelis1 and tune the tone sequence delis1, alis1, elis1, belis1 once again until
they are correct and the formed fifth belisf1 sounds right.
As above, the fifth belis-f may be tuned first, beating about the same as the fifth b-gelis, and
then progression back to gelis. The fourths need to be wide and the fifth delis-alis relatively
small, i.e. perfect rather than open.
Finally, tune the two ascending open fifths elis1belis1 and f1c2 and check the
latter with the open fourth g1 = c2. The 9th belisc2 has thus been tuned to the scale of twelve
fifths and the three minimally enlarged octaves bb1, belisbelis1 and c1c2 have been gained.
Success in tuning the lower octaves downwards is again dependent on tuning the
open fourths and fifths large enough, i.e., tuning the lower tone flat enough. To make sure that
tuning has been successful, the following check is imperative. Having completed the lower
octaves between c2 and subcontra 2A, play all 24 major and minor arpeggios in ascending
order one after the other. If they sound pleasant to the ear they have been correctly tuned. If
each higher octave sounds too flat, then the open fourths and fifths have been tuned too small,
with each new tone then tuned too sharp. In this case, return to e1 and tune again until the
correct size has been achieved and all chords sound pleasing.
To tune the higher octaves of the instrument, proceed from gelis1 and tune in
ascending direction to open fourths and fifths A similar problem exists here as above, but
the opposite. Take care that each new tone is tuned sharp enough, in other words that the
open fourths and fifths are really tuned open. The sonorous resonating of the differential can
be a helpful guide. When tuning is complete, play all 24 major and minor arpeggios again in
ascending direction through all registers. The incorrectly tuned tones will be immediately and
uncomfortably noticeable. When they have been corrected and all chords sound pleasing, the
26

instrument is ready to be played; you can play in all styles and rejoice in a true and beautiful
sound.
When testing the 19ths of the base tones, it will be noticed that some beat more than others.
E.g. the 19th f-a beats (this interval is Pythagorean) very fast while the 19th e - g hardly beats
(this interval is almost just)

27

Tuning to the scale of twelve fifths - Renold

Table 10

Temperament octave

Open note head: tone from which tuning proceeds.

Black note head: tone to be tuned.
Diamond note head: difference tone.
Notes preceded by a cross are geometric mean tones.
Tuning forks at the following frequencies are required for the tuning: c1= 256 Hz, gelis1 = 362.4 Hz and a1 = 432 Hz.

28

The Ideal Mathematical Representation

The word ideal is used because such a temperament is neither obtainable nor
desirable. A temperament will always be adjusted by ear to suite a particular instrument.
However, for the sake of an accurate representation of this temperament this is vital and is a
milestone in the development of this tuning. This is shown first in the style of Jorgenson
2 the offset for setting a tuner.
(1991) for tuning by ear and then a tableRenold
is given showing
Table 11

Tuning instructions

Tuning instructions Davis

Tune to Tuning forks

c1 = 256 Hz
a1 = 432 Hz
gelis1 = 362.40 Hz

+ before the beats indicates beats faster

beats that are slower than equal temperament
black note heads: ntoes arleady tuned
open note heads: notes to be tuned

Tune to
tuning forks

Beats: 1.32

+0.50

& #

Listen for
difference
tones

Test
+0.94 +0.66

&

Test
+0.99 2.21

Test
1.49

+0.56

1.67

Test
2.34

1.25

+0.63

etc.

Test:beatsfaster
2.34

1.40

# #

+0.53

1.58

# #

# #

Test
+0.89

+0.59

b b

b
b

Major thirds
+8.33

&
b

+8.83

+14.33

+9.89

+10.48

+11.12

+11.79

+19.13

+20.28

# #

+21.51 +14.84

Minor thirds
14.31

& b
b

15.17 10.13

10.74

18.02

19.10

b b

20.25 13.52

14.33

15.20

16.12

27.04

BMS

29

Offset for Renold 2 for the Tuner

Table 12

octave stretch in cents

-1203.35 Downwards
1203.35 Upwards
set the offset for the
notes of the chromatic
octave as follows:
C4
-5.87
delis4
-4.47
D4
-3.07
elis4
-1.68
E4
-0.28
F4
-5.59
gelis4
-4.19
G4
-2.79
alis4
-1.40
A4
0.00
belis4
1.40
B4
2.79
octave
C0
C1
C2
C3
C4
C5
C6
C7
C8

Offset for Renold 2 regularised according to Paul Davis

Use the last two columns of the following table (red) to set the stretch individually for each octave if an overall stretch
can not be set.

Renold cdifference to
offset in relation to C4. Set
c octaves
octaves
e.t. c from A
octaves of e.t. c from A Renold c-octaves the corresponidng octaves to
unstretched stretched
= 432 HZ
Difference
A 440
= 440
stretched
this offset
to B0
16
15.877
16.05
-19.274
27.5
16.35
-51.032
-45.16
C0
to B1
32
31.815
32.11
-15.924
55
32.70
-47.682
-41.81
C1
to B2
64
63.753
64.22
-12.574
110
65.41
-44.332
-38.46
C2
etc
128
127.753
128.44
-9.224
220
130.81
-40.982
-35.11
C3
256
256.000
256.87
-5.874
440
261.63
-37.632
-31.76
C4
512
512.992
513.74
-2.524
880
523.25
-34.282
-28.41
C5
1024
1027.971
1027.48
0.826
1760
1046.50
-30.932
-25.06
C6
2048
2059.923
2054.96
4.176
3520
2093.00
-27.582
-21.71
C7
4096
4127.827
4109.92
7.526
7040
4186.01
-24.232
-18.36
C8

30

Appendix

31

32

Experiences in doing Eurythmy with the Middle Tuning

In repeated experiments, the concert pitches c = 128 Hz and c = 130.828 Hz and the
equal-tempered and twelve fifth-tones tuning have been eurythmically compared with one
another, singly and in groups.
The tone c = 128 Hz as prime streams evenly and harmoniously through the whole
stature. Even the feet are self-evidently 'there' and can be reached without exertion.
With the tone c = 130.828 Hz the eurythmist experiences himself to be drawn
upwards, away from the feet, because the tone does not sound through but outside of the
body.
The same fundamental tendencies appear with the 30 tone movements. The tones
relating to c = 128 Hz rest within the area of the muscle and bone structure of the human
being. There exists a wonderful correspondence between gesture and tone. With c = 130.828
Hz the eurythmist can imagine these movements to lie within the body but they never become
real and direct experience there. If the eurythmist tries to find where they lie, the place, and/
or angle cannot be found; he experiences only that they lie outside.
By eurythmical improvisation to the C major prelude from J. S. Bach's WellTempered Clavier, the following experiences arose. With c = 130.828 and equal-tempered
tuning one experienced a world of most beautiful radiance. Nothing more beautiful exists. In
striving after this world the eurythmist initially feels bigger, like a wonderful soloist. It is a
great feeling! But it deludes one; this world of most beautiful radiance is outside of him and
his true being.11 It proves to be an unattainable illusion, and the human being loses his
humanity, his freedom. If the attempt is made to bring this world of beautiful radiance to
expressionand this is only possible in that the eurythmist strives after this world, because it
does not come to himthen he tires very quickly. For the observer, the eurythmist looks tense
and small and the movement angular. This is due to the strong muscle tension which is
induced. A group of eurythmists move very inharmoniously together.
With the twelve fifth-tones tuning on c = 128 Hz the eurythmist feels as if he is being
invited to move. He moves his arms and the world streams in. The eurythmist feels himself in
balance between centre and periphery. The space between the arms is also filled, bringing
about relationship and conversation between the arms. The arms find a connection to one
another. The eurythmist does not need to strive after something. Rather he is left free to
approach the music with questioning interest. He then receives an answer. He experiences a
grace-given peace, peace as joy and quiet at the same time. Seen by the viewer, the movement
is peaceful, but big, and the periphery is filled. A group of eurythmists move together
harmoniously. In eurythmy terms one would say that the etheric surrounding and streaming is
full and evident.
Both pianos were in the same practice room, so comparisons could easily be made.
Sometimes a period of adjustment from one piano to the next was necessary-after the
brilliance and tension of equal-tempered tuning and c = 130.828 Hz (a = 440 Hz), the twelve
11

This feeling of outside of one, is not just caused by the pitch but also arises through equal
tempered tuning. This feeling is possibly the reason many concert goers experience the music to be
distant, disconnected to one. Only accomplished musicians are able to overcome the quality of the
pitch and the tuning through their inner activity.
Equal tempered tuning may leave one free because the archetypal music does not immediately
sound. But the eurythmist needs tones and intervals which bring to expression what he or she shows in
the gesture.

33

fifth-tones tuning and c = 128 Hz could occasionally feel empty. Here the above-mentioned
feeling of questioning interest was the key to finding the new quality. On other occasions the
change was experienced as a relief. A change the other way around was mostly experienced as
being unpleasant. On one day we would begin with the one piano and then we progressed to
the other; the next day we started with the other one. Sometimes we stayed with one piano for
the whole session.
On one occasion the pianist told how the one piano required to be played very
differently to the other and suggested that she could try to swap the difference around, playing
on the one as if for the other. The effect was immediate. Playing on twelve fifth-tones tuning
as if for equal-tempered tuning, the falseness was clearly observed. The feeling was like
having caught a thief red-handed. The other way round gave the feeling that what was
wanting to be musically created was being attacked and destroyed by the equal-tempered
tuning, or, seen from the other angle, just did not speaklike an unsalted meal.
A piano tuned to a pitch correspondingly lower than c = 128 Hz as c = 130.828 Hz is
higher (c = 126 Hz) was not available. but comparisons were made with tuning forks and
tones played on a monochord. With the tone c = 126 Hz as prime, the eurythmist feels as if he
is pressed so far into his body that the air is squeezed out of him. The head area feels very
small and the inner movement weighs downwards. One is drawn through the feet into weight.
These experiences show that a relatively small difference in pitch and method of
tuning have a big effect on our experience. The Middle Tuning is a tremendous discovery and
contributes to the expansion of musical expression and is an enrichment to musical sensation.

34

Explanation of Terms
What is the duodecimo row? This is an independent row within the overtone row of
C, in which the tones appear in the proportion of 3:1 (a duodecimo), e.g. C, g, d2,
a3 or the 1st, 3rd, 9th, 27th overtones. Tones, which belong to this row, are also
called fifth tones. Two of the pitch specifications belong to this row: the tone a1 =
432 Hz is the 4th tone of the duodecimo row beginning on 2C = 16 Hz (c = 128 Hz is
the 3rd octave of this C).
What is Pythagorean tuning? This is the tuning based on perfect fifths. A
characteristic of this tuning is the relatively large Major third, which sounds bright,
and to unaccustomed ears almost sharp.
What are geometric mean tones? There are three means that build musical
intervals: the harmonic, arithmetic, and geometric mean. In the octave Cc the fifth,
G, is arrived at through the arithmetic, the fourth, F, through the harmonic and the
geometric mean gives the middle between g and f12 , to the equal tempered tritone f
sharp or g flat. However this tone is the middle of the octave and is therefore
neither the sharpened tone f sharp nor the flattened tone g flat, but the middle of
the two. Therefore Maria Renold gave these geometric mean tones new names:
Gelis (for the equal tempered tritone g flat/f sharp), Alis, Belis, Delis and Elis.13 The
third tone specification gelis1 = 362.4 Hz is therefore a geometric mean tone.
What are formed intervals? This is the name given by Maria Renold to the intervals,
which lie between a diatonic tone and a geometric mean tone. E.g. bgelis (formed
fifth).

12

Musically, the middle of an interval is arrived at through the geometric mean. I.e. the
resulting intervals are equally large. (Purely numerically, the middle is built through the arithmetic
mean.)
13

In German a flattened tone is called Ges and a sharpened tone Giss. The ending (e)lis is
derived from these two terms.

35

Bibliography
Glckler, G., & Glckler, M. (2007). Das Musikalrische geheimnis des Platonischen
Weltenjahres. In A. Husemann (Ed.), Menschenwissenschaft durch Kunst
Verlag Freies Geistesleben.
Jorgensen, O. (1991). Tuning: containing the perfection of eighteenth-century
temperament, the lost art of nineteenth-century temperament, and the science
of equal temperament, complete with instructions for aural and electonic
tuning East Lansing, Mich.: Michigan State University Press.
Renold, M. (2004). Intervals, scales, tones and the concert pitch c = 128 Hz (B. M.
Stevens, Trans.). Forest Row: Temple Lodge.
Schlesinger, K. (1939). The Greek aulos: a study of its mechanism and of its relation
to the modal system of ancient Greek music. London: Methuen.

36