History

History of the Change

In 1939 Joseph Goebbels (propaganda Minister for Nazi Germany) was the first to push for all music world wide to be played and listened to at A-440Hz. He failed. But in 1953 the Elite had a meeting in London to finally IMPOSE the a-440Hz Standard Concert Pitch and Succeeded. Prof Dussaut of the Paris conservatory had a poll of over 20,000 of the head classical musicians of France and they all voted unanimously for A-432hz but the Elite does not care what others think now do they?


There is more than one reason for doing this.

1) Goebbels knew that a-432 was the ONLY resonant frequency that had perfect harmonic balance.
2) He also new that locked inside the A-432 structure was one of Pandora's boxes.

The math that is evident when tuned to A-432 show what is called "The Plato Code". Just like there are hidden codes written into the bible there are also hidden codes in the 432 matrix. 432 is THE ONLY resonant frequency that is capable of naturally reproducing what is called the "Pythagorean Musical Spiral". Its the same sequence of growth that all life follows. It utilizes the formula of "Phi" also know as the "Golden Mean" and is also found in the "Fibonacci sequence".

The American Federation of Musicians accepted the A440 as standard pitch in 1917. It was then accepted by the U.S. government as its standard in1920. It was not until 1939 that this pitch was accepted internationally and then standardized by the International Organization for Standardization in 1955 to serve as the audio frequency reference for the calibration of pianos, violins, and other musical instruments. Before recent times, a variety of tunings were used. It has been suggested by The Schiller Institute, James Furia and many others that A432 or C256 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 original Stradivarius violin was designed to be tuned to 432 Hz. The archaic Egyptian instruments that have been unearthed, so far, are largely tuned to 432 Hz. In ancient Greece (the school book original place for music) their instruments were predominantly tuned to 432 Hz.

The Shamanic/festival use of a specific series of drums, trumpets and harps in Sumeria, had them all tuned to 432 Hz. In many cultures this tone is used in connection with sacred rituals. In India this tone is called, ‘Sadja – Father of Others’, and the Sitar and Tambura are tuned accordingly. In Sufism it’s said: ‘ the one who knows the secret of this tone, knows the mystery of the Universe.’ (Hazrat Inayat Khan – Music – Geneva 1959). The Om in Buddhism in Tibet is based on this too. The controversy over tuning still rages, with proponents of A432 or C256 citing these as being more natural tunings than the current standard of A440.

432 Hz touches the full twelve scale octave overtones of all music in creation, whereas the music of today vibrates at 440 Hz. This 440 Hz only touches 8 scale octave overtones, leaving out an entire section of the complete musical resonance of the Universe, which thus remains untouched and unintegrated within the 440 Hz music of today. This 8 Hz difference of tuning makes A UNIVERSE OF DIFFERENCE.


Music and Your Health – The Relevance of Concert Pitch (432hz)

By Patrick Thilmany (The Association of North American Waldorf Music Educators)


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.

Musical frequencies are based on Fibonacci ratios

Notes in the scale of western music have a foundation in the Fibonacci series, as the frequencies of musical notes have relationships based on Fibonacci numbers:


Fibonacci
Ratio
Calculated
Frequency
Tempered
Frequency
Note in
Scale
Musical
Relationship
When
A=432 *
Octave
below
Octave
above
1/1 440 440.00 A Root 432 216 864
2/1 880 880.00 A Octave 864 432 1728
2/3 293.33 293.66 D Fourth 288 144 576
2/5 176 174.62 F Aug Fifth 172.8 86.4 345.6
3/2 660 659.26 E Fifth 648 324 1296
3/5 264 261.63 C Minor Third 259.2 129.6 518.4
3/8 165 164.82 E Fifth 162 (Φ) 81 324
5/2 1,100.00 1,108.72 C# Third 1080 540 2160
5/3 733.33 740.00 F# Sixth 720 360 1440
5/8 275 277.18 C# Third 270 135 540
8/3 1,173.33 1,174.64 D Fourth 1152 576 2304
8/5 704 698.46 F Aug. Fifth 691.2 345.6 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.


Arithmetic Relating to the Number 432

Some interesting arithmetic related to the number 432:

4+3+2=9

9x9=81

1/81 = 12345678

8/81= 98765432

98765432 x 9 = 888888888

12345678 x 9 = 111111111

432x432=186624 (close to the accepted universal constant speed of light)

186624 /9 /9 /9 /9 /9 = 3.16 (similar to the value of pi)

In the so-called "magic number" sequence of the periodic table of elements - 2,8,20,28,50,82,126 = sum = 316 (see immediately above).

12 x 360 = 4320 (link between the number 12 and 432, degrees in a circle, etc.)

The numbers one to 9, arranged in sequence in groups of three:

1 2 3
4 5 6
7 8 9

The middle vertical, horizontal, and both diagonal rows add to 15. The perimeters add to 6, 12, 18, and 24 respectively.


Axiomatic Formulae and Conversions

Circle Area = Pi x Radius x Radius
Circle Circumference = Pi x Diameter
Circle Diameter = Circumference / Pi
Circumference = 360 degrees = 21600 minutes of arc = 1296000 seconds of arc
Circumference of the Earth = (21600 x 6080)/5280 = 24872 E.M. = 21600 N.M.
E.M. = English Mile = 5280 feet
Mile (English/US/E.M.) = 5280 feet = .86842 N.M.
Nautical Mile (N.M.) = 6080 feet = 1 degree of arc = 1.1515 E.M.
N.M. = Nautical Mile = 6080 feet
Pi = 3.1416 = Circumference / Diameter

Pyramid = Pyramids are classified according to the shape of the polygon at the base. Unless otherwise indicated, any pyramid referenced here is a regular quadrangular pyramid (like those at Giza), with a base in the form of a square and with four triangular sides each meeting at a single point (the apex). Each of the sides is a triangle, sometimes called a "face". "Height" is the distance from center of the base to apex; "slant height" is the distance from the center of a side at the base to the apex.

Scales of Measurement Niel Brandt List of various cosmic constants. Metric, so the numbers may not be significant to our interest here (See Egyptian Pyramid Inch). Nonetheless, an interesting reference.

Quantum limit of classical general relativity - 1*10^{-43} - 1*10^{32} Niel Brandt Old English Measures English Measures

Buckminster Fuller's Tetrahedron and 216

The tetrahedron is the simplest Platonic solid. A regular tetrahedron is the three-dimensional polyhedron formed by four equidistant points in space; or the figure formed by joining the center points of four concentric spheres of equal volume. It has four faces, each of which is an equilateral triangle.

This figure is central to the visionary work of R. Buckminster Fuller. Much more than the inventor of the geodesic dome, his profound ideas are fundamental to an understanding of how the cosmos is built, and why it's built the way it is.

The formula for calculating the height or length of the sides of an equilateral tetrahedron is h(height)=(sqrt(6)/3)*s(length of side). For a tetrahedron of height 12, the length of the sides is 14.6969385, which is the square root of 216. Synergetics

Comment There are perhaps many other numerical "coincidences" linking Synergetics with the number 432.

Diameters of the Sun and Moon

The diameter of the sun is 864,000 miles (2 x 432). The diameter of the moon is 2160 miles (432 / 2).

Comment - If these measurements were not as they are, we would not experience a total eclipse of the sun. These ratios and numbers, combined with the cycle of the Precession of the Equinoxes of the Earth at 25,920 years (60x432), form an astounding coincidence, at the very least. Despite popular opinion that there may be billions and billions of worlds in the Universe, the odds are billions and billions to one that any such ratios prevail anywhere else.

Di Herculis Blue Binary Precession Anomaly

"DI Herculis is an 8th-magnitude eclipsing binary about 2,000 light years from earth. These two young blue stars are very close---only one fifth the distance from earth to our sun. They orbit about a common center of gravity every 10.55 days. The puzzle is that, as the two stars swing around one another, the axis of their orbit rotates or precesses too slowly. General relativity predicts a precession of 4.27°/century, but for DI Herculis the rate is only 1.05°/century. Accentuating the challenge to general relativity is the discovery that a second eclipsing binary, AC Camelopardalis, also violates general relativity in the same way. It seems that wherever gravitational fields are extremely strong and space-time, therefore, highly distorted, general relativity fails."

The elliptical three-body problem (a close binary and a nearby companion, three-dimensional case) has been examined to explain the nature of anomalies in apsidal motion of some close binary systems. Significant discrepancy between the observed and theoretical apsidal motion of DI Herculis possibly results from binary orbit perturbations due to the presence of a third body.
Di Herculis

Comment - One verified exception is sufficient to disprove a supposedly universally applicable theorem.

Egyptian Pyramid Inch

Use of the pyramid inch is attributed to Sir Isaac Newton, who discovered that many of the measurements of the pyramid would be in whole numbers if this unit were used. The pyramid inch and sacred cubit are also found as raised images on a red granite plaque at the entrance to the Antechamber of the King's room of the Great Pyramid. The English inch was originally the same as the pyramid inch during the reign of Queen Elizabeth. Pyramid inches are .0011 longer than our inch, and the sacred cubit is 25 pyramid inches. The pyramid inch = 1.0011 present inches
Hunkler

Comment - The correspondence between the ancient Egyptian inch and the English foot explains why measurements in feet, rather than some other unit such as meters, reveal the cosmic geometry symbolized by the number 432. Egyptian measurement units were clearly based on a deep understanding of astronomy, geophysics, and mathematical relationships. There are numerous examples supporting this view. See, for example, Height Ratio of the Great Pyramid.

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.

Height Ratio of the Great Pyramid

The height and perimeter of the Great Pyramid are in a ratio of 43,200 to the radius and circumference of the Earth. Take the original height of the pyramid (481.3949 feet) and multiply it by 43,200, the quotient is 3938.685 miles. The modern measurement for the actual polar radius of the Earth (pole to center) is 3949 miles. Also, if you take the perimeter of the pyramid at its base (3023.16 feet) and multiply this number by 43,200 you get 24,734.94, within 170 miles of the equatorial circumference of the Earth (24,902 miles). The error is less than one percent. Furthermore, the length of the base of the Pyramid of Cheops is exactly the distance the Earth rotates at the equator in one half-second of time.

Comment - Civilized Egyptians were considering the nature of the cosmos for going on 5,000 years before the pyramid was built. Our own technical civilization started around the period of the Industrial Revolution, 150 to 200 years ago; and is not focused, by and large, on inquiries into cosmic geometry. The Great Pyramid was clearly designed to embody ages of knowledge of cosmic and mathematical proportion in a single sacred structure that would last for all time. A key number embodied in this structure is 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.

Precession of the Equinoxes

The Earth's axis is inclined at 23.5 degrees to the plane of its elliptical orbit around the sun. As the Earth rotates it experiences precession, like the wobbling of a top. This wobble causes the direction of the north celestial pole to change in a circular path over time. This motion is called precession of the equinoxes and occurs in a full cycle every 25,920 years (60 x 432).

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.

Speed of Sound in Granite

The speed of sound through granite rock at room temperature (about 72 degrees) is 12,960 feet per second.

Comment - Sound waves need some type of matter as a carrier. Their speed is affected by the density and temperature of the substance through which they travel. At higher temperatures the speed of sound increases. This particular measurement (3 x 432), ties a primary property of stone to the cosmic geometry symbolized by the number 432. Coupled with the known power of acoustics to modify the physical properties of substances (see, for example acoustic fluidization), this measurement suggests intriguing links between sound, stones, and the number 432. This is of particular interest given the widespread legends and mystery concerning the methods used to construct ancient cyclopean megaliths, in which the acoustic levitation of stones by trumpets, lyres, whistles or songs is often asserted.

Square Root of the Speed of Light

Einstein's famous equation of energy and matter - E=mc2 - leads to one of the most profound instances of the occurrence of the number 432. In the equation, E= energy, m = matter, and c = the universal constant speed of light. The speed of light is generally accepted to be 186,291 miles per second in a vacuum. However, the square of the number 432 is 186,624. If the universal constant speed of light were in fact 186,624, then the number 432 would be the square root of the speed of light. The deviation is small enough be be accounted for by several possibilities:

(1) Variation in our understanding of the length of the "mile", i.e. 5280 feet. See Egyptian Inch, above.
(2) Known anomalies in the theory of general relativity. See Di Herculis.

The Egyptian sacred pyramid inch is .0011 inches longer than our inch. 186,291 (accepted speed of light) x 1.0011 = 186496 or 99.931429 percent of 186,624. The speed of light, if calculated using the slightly longer sacred pyramid inch, is extraordinarily close to the square of 432.

Comment - Presume for a moment that you do not know the speed of light, but are aware of the equation E=mc2. An intuitive scientist who substituted the number 432 for "c" in the equation would be very close, if not precise, in the determination of this universal constant, that is, E=m(432)4. This illustrates the important concept of "reverse engineering" to find unknown quantities and constants by use of the cosmic number 432 and its multiples and divisors.


Tuning Pitch A432

Now, let us observe the proposal to set the tuning pitch for a piano at A432, instead of A440. The numbers offered by Munck's newsletter are a partial listing:

James Furia's Keyboard

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 Nº 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

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

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)

Current Notation: (Theoretical)

A

16

32

64

128

256

A

13.75

27.50

55

110

220

440

A#

16.95

34

 

 

 

A#

14.56

29.13

 

 

 

 

B

17.95

36

 

 

 

B

15.43

30.86

 

 

 

 

B#

19.02

38

 

 

 

C

16.35

32.70

 

 

 

523

C

20.15

40.3

 

 

 

C#

17.32

34.64

 

 

 

 

D

21.35

43

 

 

 

D

18.35

36.70

 

 

 

 

D#

22.6

45

 

 

 

D#

19.44

38.89

 

 

 

 

E

23.9

48

 

 

 

E

20.6

41.20

 

 

 

 

E#

25.3

51

 

 

 

F

21.82

43.65

 

 

 

 

F

26.9

54

108

216

432

F#

23.12

46.24

 

 

 

 

F#

28.5

57

 

 

 

G

24.49

48.99

 

 

 

 

G

30.2

61

 

 

 

G#

25.95

51.91

 

 

 

 

A

32

 

 

 

 

 

 

 

 

 

 

 

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.


Why go back to 432 Hertz?

Among others, Dj Tiësto produces all his music at 432 Hertz!

This article is about the mood in the music, about the natural mood in music. Music is important. It gives us something, it puts us in certain moods, and tunes us in on the universe. It can make us happy, sad, or meditative.

It may even heal us. That's always been a feature of music. Music can be found in all cultures back into the distant past. Lately, a whistle was found in a Neanderthal settlement. From the very beginning, man has been connected with music.

Music has always played a role in the mystical. Just think of medicine men and shaman who worked with drums, flutes, Bowls, and all other instruments. Music can be healing, it can bring you back in touch with nature. Can you literally "tune" in with the universe. Because the universe is music. Music is vibration, regular motion. The universe is all vibration and regular movement, including "tones". By tuning in on the tones of the universe we can heal ourselves, we can make us aware of the fact that we are part of this universe, we can again realize our divine core.

This all sounds very nice, and it is clear that music is a divine gift to the universe. Unfortunately we humans are very capable of disturbing this universal plan. There is also something like untune. As well as natural-minded music works for us as for the universe, so works untuned music against us and the universe. What happened? I will try the simplest possible language to explain.

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

I’ve 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 CD’s 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 couldn’t be cured with my device and the proper frequencies of the magical 432Hz music scale.

Jamie Buturff can be contacted at This e-mail address is being protected from spambots. You need JavaScript enabled to view it for more information about his new Vortex & Electromagnetic Sound Healing device or the VESH-432.

 

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