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A432-Music Tuning Schematic
A432-Music Tuning Schematic
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The earliest conventions of Western music held that "Music on earth was a reflection of the greater 'music of the spheres', a harmony created by relative distances and rates
of motions of the planets - a harmony that was constantly present, if only people were sufficiently sensitive to hear it" (Yudkin, Jeremy, Music in Medieval Europe, 1989).
If we as individuals can identify with the concepts presented in this statement, and we accept that we as human beings are multifaceted creatures who must live in harmony
with our environment in order to maintain our health and reach our full potential, we can begin to see into the secrets of music and its impact on our health. Such a
philosophy would indicate that music should be based in nature and the cosmic rhythms of the universe, if it is to be beneficial to humanity. From this standpoint one can
extrapolate that the standard used to determine concert pitch should have an organic foundation as well. One theory of setting the standard for a concert A at 432 Hz
attempts to utilize the argument that 432 Hz is based in nature. This theory would indicate by deduction that 440 Hz would then lend itself to generating an unhealthy
effect in the environment. To be sure, this debate becomes a very heady and esoteric conversation. Some of the more radical proponents of 432 Hz as the true basis for
concert pitch would indicate that everything in nature has a basis in 432 vibrations per second. One realm of nature that does support the idea that 432 Hz has an organic
basis - that is the movement of the sun. Without going into a lengthy technical monologue we can ascertain that the note C of a scale based on 432 Hz can be reduced to a
vibration rate of one vibration per second. We can further establish that the true origination for the measure of one second is based on the movement of the sun. There are
further, more in depth, studies based on planetary motion and the harmonic overtones and undertones which do lend further support to the "organic" basis of 432 Hz as a
solid foundation for musical structure. The tuning of a scale based on 440 Hz does not lend itself to a reduction on any basis which corresponds to a cosmic movement or
rhythm. The difference between 440 Hz and 432 Hz is only 8 vibrations per second, but it is a perceptible difference in the human experience.
There are many other great wonders that 432 Hz phases into. Look at the Buddhist temple of Borobudur, in Java. At Borobudur there is a Pyramid of Mt. Meru. Meru is
the world and universal mountain created by the Vedic original Germinating god, Manu, as he descended into this universe and planet. Bringing with him S-AUM-A (the
plant from which the elixir of immortality is made) and Banana's. Meru is considered to be the Sonic mandala of creation: the Shri Yantra, likened to a sonic holographic
plate that upholds this universe, like a Diamond. Instigated by the living Word AUM an interesting Vedic creation "myth", but can a sound made from a series of syllables
makes a mandalic or holographic pattern? Dr. Lawrence Blair demonstrated on a tonographer (a sensitized sound plate which vibrates sand to show the wave form pattern
of the sound) that the sound AUM, when sung correctly by a Tibetan monk, indeed does make this pattern of the Shri Yantra in the resonated sand. Which itself is
astounding and reveals an ancient musical science. The Borobudur Meru Pyramid naturally thus would have 72 stupa's, and there are, of course, 432 Buddha statues at this
site. In this coming Age, when musical instruments are tuned at 432 cycles per second, no matter how hard the music might be, it will be harmonics that are produced. It
will be healthy for the body, tuning the body, vibrating in fractal harmonics with the DNA helix sound matrix of life itself.
Those DNA helixes are musical instruments that are constantly receiving MHz of electricity and the audial currents, which require sound. If that sound is dis-harmonic, a
DNA starts to resonate to external disharmonies. Should the external resonating tune sources, in a person of old age that has their DNA viruses resonating to the outside,
become harmonic (such as a 432 Hz based music, with all of the over- and undertones of 432) -- then the DNA viruses will remember their coherent PHI-like spiral shape
And possibly form of regeneration, Since 8 Hz in DNA replication has been described by Scientific American (March 1965, p 28), to be behaving as a room temperature
superconductor, the use of sound may enable such genetic alchemy.
A440 is an arbitrary standard. The American Federation of Musicians accepted the A440 as standard pitch in 1917. It was then accepted by the U.S. government its
standard in 1920 and it was not until 1939 that this pitch was accepted internationally. Before recent times a variety of tunings were used. It has been suggested by James
Furia and others that A432 be the standard. A432 was often used by classical composers and results in a tuning of the whole number frequencies that are connected to
numbers used in the construction of a variety of ancient works and sacred sites, such as the Great Pyramid of Egypt. The controversy over tuning still rages, with
proponents of A432 or C256 as being more natural tunings than the current standard.
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History
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Calculated
Frequency
440
880
293.33
176
660
264
165
1,100.00
733.33
275
1,173.33
704
Tempered
Frequency
440.00
880.00
293.66
174.62
659.26
261.63
164.82
1,108.72
740.00
277.18
1,174.64
698.46
Note in
Scale
A
A
D
F
E
C
E
C#
F#
C#
D
F
Musical
Relationship
Root
Octave
Fourth
Aug Fifth
Fifth
Minor Third
Fifth
Third
Sixth
Third
Fourth
Aug. Fifth
When
A=432 *
432
864
288
172.8
648
259.2
162 ()
1080
720
270
1152
691.2
Octave
below
216
432
144
86.4
324
129.6
81
540
360
135
576
345.6
Octave
above
864
1728
576
345.6
1296
518.4
324
2160
1440
540
2304
1382.4
The calculated frequency above starts with A440 and applies the Fibonacci relationships. In practice, pianos are tuned to a "tempered" frequency to provide improved
tonality when playing in various keys.
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History
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Heart Beat
A healthy, athletic adult at rest has a heart rate of 60 beats to the minute. 60 X 60 minutes X 24 hours = 86,400 beats per day.
Comment - This may be one of the reasons why the number 60 is so common in metrology. It also gives humans a special relationship to the cosmos, in the sense that it
links a fundamental physiological property of the human species to the cosmic geometry symbolized by the number 432.
Latitude of Stonehenge
Stonehenge is located at 51 degrees, 10 minutes, 42.35294118 seconds North latitude, and 51 x 10 x 42.3529 = 21,600, i.e. (432 / 2).
Comment - This is either an extraordinary coincidence; or the originators of Stonehenge knew a lot more about astronomy, geophysics, and geometry than they've been
given credit for. It was the Greek astronomer Hipparchos (ca. 190 - 125 B.C.) who is credited with covering the sphere of the earth with meridians and parallels. Following
the Babylonian method of dividing circles and angles according to the sexagesimal system he created a grid of 360 lines running from the North to the South Pole and 180
lines running parallel to the equator. All this was done, however, thousands of years after the building of Stonehenge.
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History
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Comment - In 14,000 A.D. Vega, not Polaris, will be the "North Star".
Qi of Qigong
Influence of The External Qi of Qigong on The Radioactive Decay Rate of 241Am
"The decay rate of a radioactive source is usually extremely stable and cannot be altered even by such physical or chemical processes as high temperature, high pressure,
high electromagnetic field, strong acid, or strong base. However our qigong experiments showed that the count rate of 241Am radioactive decay significantly changed
while the radioactive 241Am source was being treated by the external qi of qigong emitted by Yan Xin. The amplitude of the change was, on average, about 1 % of the
total count rate, but in one instance it reached a maximum of 10 %. The qigong experiments were conducted at ambient temperature and pressure, and the external qi was
emitted from a distance of 100 meters to 1900 kilometers. Since no known physical or chemical processes existed in our experiments, except the effect of external qi
emitted from long distances, that could cause a change in the decay rate of a radioactive source, we can only attribute the significant changes in the 241Am decay count
rate to the effect of Yan Xin's remote qi treatment."
"The 241Am source was an electroplated standard source produced by the Institute of Atomic Energy, Academia Sinica in 1981, with a radioactive intensity of216 uC and
an effective diameter of about 2 mm. The source was packed in a source box (25 x 5 cubic m) made of Plexiglas."
"From the third to sixth round of experiments, there were a total of 32 emissions for the four rounds. The emissions were carried out while Yan Xin was conducting qi
emitting lectures in the cities of Shenzhen, Guangzhou, Chengdu, and Kunming. The time for each qi emission was scheduled by telephone in advance."
Comment - 'Qi' is a Chinese character meaning, literally air, and represents the flowing energy that exists in everything and permeates the universe. "Gong" is another
Chinese character signifying the method or practice of understanding or utilizing this energy. Dr. Yan Xin, a Chinese Qi master, has conducted several scientific
experiments to verify the effect of Qigong practice on physical processes, including supposedly stable radioactive decay rates (see above). The "emissions" of Qi by Dr.
Yan Xin, often from a distance, are apparently correlated with measurable changes to physical processes. Our immediate interest here is on a significant point not obvious
in the above referenced articles, namely, that the "emissions" are evidently conducted in sets or rounds, "..32 emissions for the four rounds," etc. The practical practice of
mind over matter may depend on an understanding of the Cosmic Key: 432.
The actual number of keys on a piano's keyboard are 52 white keys and 36 black keys. From the start, one wonders exactly how much of the ancient reckoning system was
carried over into Western society and culture. The number 52 is an obvious multiple of 26, and the two distinctive ancient reckoning counts were 260c and 360c.
Furthermore, a note of intriguing wonder: 52 x 36 = 1872. The number 1872 is the fractal of the maya long-count period: 1872000 days since the beginning of time. One
might find it difficult to even entertain the suggestion that Bartolomeo Cristofori, who built the first practical piano, may have had such symbolic numbers in mind. Or,
that 52 and 36 reflect the two variations of perfect right triangles at their baseline numbers: 48:52 and 36:64, as we have examined previously (Earth/matriX N 67). Such a
symbolic representation may have been in tribute to the study of music exercised by the Pythagorean school, which concentrated on the relationship of perfect right
triangles. Nonetheless, the numbers of the perfect right trinagle and their variations are in the numbers of the tuning of a piano, irrespective of which particular pitch one
wishes to work with.
Let us, then, observe the complete numbers for the setting of the piano's pitch baseline at A432, as suggested by James Furia.
The A432 Tuning Pitch for a Piano
27 x 1.059463094
mediatio/duplatio
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History
Page 5 of 7
27.00
54
108
216
432
864
1728
3456
28.605503538
57.21
114.42
228.84
457.68
915.36
1830.72
3661.44
30.3064752837
60.61
121.22
242.44
484.88
969.76
1939.52
3872.04
32.1085920723
64.21
128.42
256.84
513.68
1027.36
2054.72
4109.44
34.0178683009
68.04
136.08
272.16
544.32
1088.64
2177.28
36.0406760013
72.08
144.16
288.32
576.64
1153.28
2306.56
38.1837661061
76.36
152.72
305.44
610.88
1221.76
2443.52
40.4542909793
80.91
161.82
323.64
647.28
1294.56
2589.12
42.8598282865
85.72
171.44
342.88
685.76
1371.52
2743.04
45.4084062847
90.82
181.64
363.28
726.56
1453.12
2906.24
48.1085306159
96.22
192.44
384.88
769.76
1539.52
3079.04
50.9692126941
101.93
203.86
407.72
815.44
1630.88
3261.76
27
54
108
216
432
864
1728
3456
28.6
57.2
114.4
228.8
457.6
915.2
1830.4
3660.8
30.3
60.6
121.2
242.4
484.8
969.6
1939.2
3878.4
32.1
64.2
128.4
256.8
513.6
1027.2
2054.4
4108.8
34
68
136
272
544
1088
2176
36
72
144
288
576
1152
2304
38.1
76.2
152.4
304.8
609.6
1219.6
2439.2
40.5
81
162
324
648
1296
2592
42.9
85.8
171.6
343.2
686.4
1372.8
2745.6
45.4
90.8
181.6
363.2
726.4
1452.8
2905.6
48.1
96.2
192.4
384.8
769.6
1539.2
3078.4
51
102
204
408
816
1632
3264
The previous table was obtained by multiplying the baseline numbers A27 by the twelfth root 2 (1.059463094) successively thereupon its own column, then, rounding
those numbers off to two decimal places, and then, doubling each number along its corresponding line. The second listing on the table shows the numbers rounded off to
only one decimal place. These numbers would not necessarily be useful to someone attempting to tune a piano, since possibly the beats would not be distinguishable, but
they are simply theoretical numbers for the pitches.
How would the numbers actually play ? That would have to be a task for someone like James Furia himself to distinguish possibly; if the numbers are any reflection of
sound, there appears to be a wealth of purity involved as the numbers easily complement one another which suggests "constructive interference" as it is termed. The
numbers do vary from those proposed by Munck/Furia in the newsletter. These adjustments appear to be more acceptable in terms of method and meaning. The distinct
pitches, observed in the previous manner, would suggest a complete picture of the keyboard. In fact, it may appear logical that the keyboard begin with A27 (a prime
divisor of 432)
432 / 27 = 16
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History
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Observations.
The A440 pitch is generally employed in tuning a piano. This particular baseline for the scale has been accepted since 1939; undoubtedly, such a practice may not vary for
a long time. Inspite of that, musicians are quite inventive and they experiment with distinct arrangements;that is the creative nature of music itself. The A432 pitch has
been suggested by James Furia as a possible alternative for tuning a piano. Before the A440 pitch was accepted, the A435 pitch was common; to propose the 432 pitch
does not seem to be that radical, and lies within the possibility of creating music obviously.
The most pleasant aspect of choosing A432 as a baseline for the piano's tuning pitch is that the theoretical numbers that derive from this procedure reflect historically
significant numbers of the ancient reckoning system from around the world. One has only to consider some of the numbers listed in this essay on the A432 table in order to
observe their similarity with numbers cited in other Earth/matriX essays. The same complementary nature of the numbers coming out of the ancient reckoning systems
may be observed with regard to the series of numbers for theoretical pitch on the A432 scale. Music deals with the complementary and constructive interference of the
vibration of the strings; the numbers and their complementary nature reflect just such a possibility. An obvious conclusion is that the numbers of the ancient reckoning
systems could easily produce musical sound on the piano ---no matter which particular pitch may be chosen--- because the numbers of both systems behave the same way.
In this essay, we have shown that in order to allow the theoretical discussion of numbers to be more theoretically comprehensible, one would probably have to adjust the
universe of the numbers (from A16 - A4096), and therefore adjust the system of notation of letters, as such:
New Notation: (Theoretical)
16
32
A#
16.95
64
13.75
27.50
34
A#
14.56
29.13
17.95
36
15.43
30.86
B#
19.02
38
16.35
32.70
20.15
40.3
C#
17.32
34.64
21.35
43
18.35
36.70
D#
22.6
45
D#
19.44
38.89
23.9
48
20.6
41.20
E#
25.3
51
21.82
43.65
26.9
54
F#
23.12
46.24
F#
28.5
57
24.49
48.99
30.2
61
G#
25.95
51.91
32
108
128
216
256
432
55
110
220
440
523
By employing the 432 pitch for A, the numbers of all the other strings would appear to be easily relational. By interchanging the notation of letters, the manner by which
the numbers may be related become even easier than normally comprehended. In this regard, a few more essays may be in order to illustrate how the numbers and the
notation work together. The system of pitches F432 - A256 (or, previously notated as A432 - C256) reflect the general universe of the octaves A16 - A4096, the complete
gamut of organ/piano tuning. Within those series of numbers, the historically significant numbers of the ancient reckoning systems become evident. The idea that the
ancient reckoning system may be susceptible to a translation in music would not appear to be something outside the realm of musical creation.
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History
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Who does not know the nursery rhyme "do re mi fa sol la si do". It is not just a tune, it's the scale. It starts low and ends exactly twice as high. The last note, the do, sounds
exactly like the first but is higher. In music it's called an octave. Each tone has a pitch, can be high or low or in between. That pitch is called frequency or vibration, and
consists of a certain number of vibrations per second. Just think of the pendulum of a clock, which swings many times a minute back and forth, or check out a string of a
guitar. You can still see the thickest string with the naked eye vibrate, which is a number of times per second back and forth. Very fast, but you can still see.
If we go back to the rhyme, the "do" the first tone, is the fundamental tone. This first tone is always 432 vibrations per second, or 432 Hertz with a difficult word. This 432
vibrations per second is a tone that is closely related to the universe around us. That tone is linked in nature, in mathematics, in planet orbits, throughout the universe. That
is the reason that music is usually so good to us, we tune in to this music as it were, on the universe. We know that for al long time. This is very old knowledge.
All classical music by Bach, Brahms and so on and Verdi is composed and performed with the use of this standard, an A at 432Hz. This standard is the C 512Hz or 256 Hz
octave lower, but still lower octaves (512-256-128-64-32-16-8-4-2-1), the C at exactly 1 vibration per second, the so-called "groundtone". This mood is also called
"science mood" because this mood conforms scientifically with the universe. The oldest known advocate of this vote is Plato, the philosopher from Greece.. However, at a
given moment, this is waived, either by personal taste, ignorance or other reasons and there have many standards rise, and they were even different per country. In general,
the groundtone increased, which in recent centuries many singers took their vocal cords.
In 1884 Verdi in Italy has sent a petition to the Ministry to replace the ground back to 432Hz. Verdi reasoned that by stating that this would be very good for the vocal
cords of singers (singers), but also better for the instruments, and provides a quieter and more harmonious sound to the listeners.
Unfortunately, in the second world war the Nazis once again increased that tone, and in 1936 by the former propaganda minister Goebbels defined at 440 Hertz, which we
still considered the standard. This has been a devilish turn by the Illuminati, who were well represented within the Nazis.They wanted to throw everyone off there natural
alignment and take away the spiritual development. In 1953, in London at a conference of musicians, the 440 Hz has been adopted as international standard ISO 16.
23,000 French musicians have held a referendum for the 432 Hz as a standard to set but unfortunately without success.
We're stuck to 440Hz and are the whole day covered in this "not related" music! It is clear that we must return to the natural vote of 432 Hertz. A Stradivarius violin
resonance is at 432Hz, it's built to do so. The great composers of that time like Mozart and Beethoven and others composed in fact their music on instruments that were
tuned at 432Hz.
Music at 432Hz feels calmer, more comfortable and relaxed. You could even say that music in that key is healing. Many people feel that the music 440Hz goes to head,
and the 432Hz music goes to the heart. But it is better to find out yourself and feel the difference. (Article: Rene Klever)
The VESH-432
Ive created a new healing device based on the above cosmic harmony of the A432Hz musical scale. The emitting device itself is a toroid that has been mathematically
wound with two separate copper wires creating a bifilar coil that when properly energized produces a counter rotating electromagnetic vortex. All things in nature from
galaxies to hurricanes to atoms and even our blood cells exhibit characteristics similar to toroidal vortexes.
Also within the center of the toroidal coil I have a rare earth powerful magnetic material called neodymium. When energized with the harmonics of the 432Hz scale this
device generates an electromagnetic vortex, a vibrating magnetic field from the neodymium magnet and sound all in harmony with one another allowing a penetrating
healing energy into the body.
When I first conceived the idea for this device I waned to find out what would be the best frequencies to program. I put one of my Tibetan chakra meditation CDs by Ben
Scott and Christa Mitchell into my player then placed a Korg tuner to the speaker to find out what frequency the Tibetan singing bowels were vibrating at. To my surprise
all of the seven chakra frequencies that were produced by these sacred hand-made bowels were all harmonics of the 432Hz music scale. I then began to research this music
scale and found the information that produced the above paper.
I have had very promising results with this device. 9 out of 10 people immediately felt joy or happiness when the coil was placed on meridian points. All of the people I
tested experienced healing the next day. One person had swelling and pain in his foot but that was gone in the morning and even after a 1-hour hike the swelling continued
to go down even though he was experiencing continued swelling 5 days prior with continuous hiking. Another person experienced a complete relief of back pain and told
me, This was the most profound feeling I had ever had. Another person had been limping for almost 2 months and after just one session she was able to run and hike
with no pain. She continues to have no pain after one week.
These are just a few of the experiences I have witnessed and received testimony for. There needs to be further research on this device but I see no reason why cancer,
diabetes, MS, arthritis, and many other diseases couldnt be cured with my device and the proper frequencies of the magical 432Hz music scale.
Jamie Buturff can be contacted at Jamie@spiritualresults.com for more information about his new Vortex & Electromagnetic Sound Healing device or the VESH-432.
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