A-432Hz (Known as Verdi’s ‘A’) vs A-440hz, A Sonic Experiment ** HIGHLY RECOMMENDED

www.432hz.org        www.schillerinstitute.org

I’ve just been reading something about A-432hz: the, allegedly, preferred pitch for music to be played at according to Prof Dussaut of the Paris conservatory (who held a poll of over 20,000 of the head classical musicians of France who all voted unanimously for A-432hz).

So far I’ve heard it rumoured that Joseph Goebbels first campaigned for the use of A-440hz in 1939. He was unsuccessful. Since, however, in 1953 – by an unknown, presumably unmusical, syndicate – it was decided and A-440hz became the standard concert pitch.

I’m going to look further into this, try and find some official sources and reputable links. Watch this space. If anyone can provide anymore information on this your comments would be immensely appreciated.

And may I wish all of you who have followed me on this educational journey for the last few months (almost 10,000 of you) a very happy new year 🙂


Filed under: Music, Nature, Psychology, Science, Technology

9 Responses

  1. Jon says:

    I first came upon the article on the Paris Conservatory and quite honestly… Didn’t put much stock in it. Then by virtue of boredom I decided to tune my guitar to A432 and see what happened. Being a completely self taught musician, I know very little about pitch, I can’t read music, I don’t know scales or theory. I just hear music. I play a PRS CE22 usually tuned to Drop C# “I think” B F# B E C# G#. As I was tuning up I could “feel” the resonance getting stronger and more noticably the harmonics got way louder and consonant. I am having a bit of trouble since my tuner (BOSS TU2 Chromatic Stomp) Won’t tune to 432Hz. I am forced to use the test tone in ableton live as a referance. But I’m not sure how accurate this is? And it makes intonation a nightmare! LOL Any advice?

  2. Ed says:

    Try this. I found it quite simple to tune to A 432hz using this (there is a presetting that allows it). http://www.hitsquad.com/smm/programs/AP_Guitar_Tuner/

    Enjoy 🙂

  3. Brendan Bombaci

    Common Ground: A Dash of Music and an Inch of Sun

    The Egyptians related the course of cosmic chronology to physical structures by the passage of our Sun’s motion through the sky (and by Earth’s annual orbital spin). Witnessing one whole degree of sky, with gnomonic and/or sextant (astrolabe) referencing and with tally marks, they were enabled to foster the origins of geometrical art, modern physics and biology, and various standards of weights and measures. According to their observations of total solar standstills throughout any given year, 5 days (2 solstices of nearly 2.5-day-long/60-hour standstills each) were discounted from the apparent (synodic) orbit of 360 days. This supplied the 360 degree compass system, and is conveniently a multiple to lowest common denominations of division by the digits 1, 2, 3, 4, 5, (six is a larger 3), (8 is a larger 4), and 9, which skips seven – leading us to better comprehension of the 7th day “rest” of the solar deity in universal (mathematical) creation, and the symbolic mystique of that scythe shaped figure 7 in early writing. The geometrical correlations to this science rendered the common religious symmetries of the circle (one point or one whole), the vesica piscis (2 pointed fish or eye), the triangle (3 points either “upward” or “downward”), the cross (4 points or a tetrahedron – the original three dimensional platonic solid), the pentalpha (5 points representing the Golden Ratio or a pyramid), the Star of David (6 points or two equally inverted triangles), and the globally Gnostic octo-and-dodecahedral starbursts (8 and 12 points respectfully). Masterfully utilizing astronomy for rational arithmetic, the precession of the equinoxes (wherein the night sky shifts completely over 25920 years) was fit into Egyptian geo-metrical divisions by according 72 subdivisions, in every single degree of a day’s cycle, to obtain that large total number of the celestial Heavens. The Hebrew named these astro-horological units “barleycorn,” and later, “Helakim;” each unit lasted for 3.333 of today’s seconds.
    Here is a fundamental example of an easily perfected scientific instrument to discover the speed of sound: being that shifts in visible light are transmitted almost instantaneously, one man can stand at a distance to another and shout at the same time he waves his hand, while the observing man calculates how long it takes for that shout to travel. The observer could use a metronome constructed of a flow control screw-valve (which the Egyptians invented for irrigation, levitation, steam power, and transmission) which would tap a keg full of liquid set accurately to drip once per Helakim. The result is that a numerically symbolic unit of length (distance) measure could be derived simply by the shouting man retreating from or advancing to the observer until they coordinate a particular distance of rope-knotted “degrees;” and, the speed of sound in air would then have a rational distance per Helakim associated to it. The speed of sound is 1080 feet per second at freezing (0 degrees Celcius), and, this works out to be an auditory “speed” of 3600 feet per Helakim. Being that one hour contains 3600 seconds, it could be easily postulated that the creation of the second hand was an action relative to this measure, originally manifested from close attention to the dance of stars and the Moon above.
    In the Old Testament, the 1/8th-mile “furlong” (or agricultural furrow-long which later evolve into the ‘acre’) of 660-ft/ 440-modern-cubits was prominent in usage; it is also currently the “E” note, in Hertzian notation, of Western music (with 440 arguably the ‘A’ note). Being that the angels of Biblical metaphor were equated with song and the Word of God, and that acoustical pressure is the only real difference between instantaneous light waves and slower material existence, the ‘Word’ truly did “part the waters” as the evolution of frequencies, and henceforth, elemental chemistry carried onward. To really understand this separation of light and sound waves (and oneness of them all), and even of heavy material forms much more divided into unseen particle-waves, was quite the aim of many esoteric alchemical studies. ‘Angel’ is translatable to ‘angle,’ in terms of word meaning; representative of a being (a geometer) cognizant of the irrationality of light, and the opposed rationality of human-created number, weight, and measure, the word was synonymous with scholar, guardian, craftsman, teacher, visionary, and more. Revelations 21:17 says “and he measured the wall thereof, an hundred and forty and four cubits, according to the measure of a man, that is, of the angel.”
    The Royal Cubit has an interesting root of formulation in furlong numerals. Divisible by 20, and also by 33 (an often-mentioned number in sacred geometry representing otherwise irrational and Holy or Masonic thirds in decimal systems), and, being a 5:4 ratio ‘E’ note musical product of the obscure and ancient solfeggio “Mi” note of 528hz, the furlong-number of 660 has many peculiar ties. The number 660 is even an 11/6 ratio for the common cross-cultural (geomantic) number 360, which tells much allegory in and of itself, and can easily justify the conception of our musical frequency system as based on our annual orbit – hence the general keynote 360 Hz ‘F’ of ancient Greece and Asia. Six multiplied by sixty, as well, equates to 360. At 72 degrees Fahrenheit (termed as the perfect human comfort zone), a number once again associated to the 25920-year Precession of the Equinoxes and to the numerical Hebrew Gematria equivalent of “YHVH” ( the original spelling of Yahweh or Jesus), as well as symbolic of fifth-divisions of 360 degrees (the 72 degree separations of pentalpha points), the speed of sound is 1130.81 feet per second, because wave (sound) speed is dependent upon pressure/temperature in the medium. This amount, divided by 660 segments (curiously), gives a length or distance which is equivalent to 20.56 inches of measure, per each 660th of the total distance; and physically, this is just under the length of Biblical Royal Cubit proportion. The Cubit, too, was divided by 4 “palms” of 7 “fingers” each (much like the 4-week lunar 13 month calendar), and inasmuch, it is squarely affirmed that this product would be rounded up to Moses’ proclaimed 20.6” unit in said system. The fact that this particular measure can be fabricated from anywhere in the world by two people and some equipment to also derive this temperature measurement system of old, is of even further value. To boot, it may be that the “comfort zone” 72-degree temperature returns to stasis near the spring equinox in Africa, further dedicating the “birth of the Sun God” to our instrumentation of rational measure in material life. This might have led to the eventual popularization of the German “Fahrenheit” notation through the feverish and complete old-world dominations of Alexander the Great (an pre-Germanic Aryan and esteemed Grecian conqueror).
    If the Royal Cubit came from calculations of geometrical distancing and sound, so did the inch. One other standard of Cubit division was by the “construction remen” standard of 20 notches (and its further 1/16th binary subdivisions named ”Ro”). In this tradition was the Gizeh pyramid built up to a height of 320 Cubits (like the 320 Ro within a Cubit). As above, so below. After time, the Royal Cubit made way for the contemporary Cubit of 24 Fingers (instead of 28), measuring 18 total inches, or a musical-termed dominant “perfect fifth” in relation to the Roman “foot;” and, the same second-hand time (instead of Hekalim) that begot this whole schema also made its gradual way into international decree by a Papal Bull from Pope Gregory the XIII. The speed of sound, after all, had to relatively match the numerations of Heavenly motions, so instead of 3600 feet per Helakim, it became 1080 “feet” per “second” (at freezing instead of 72 degrees). Seconds also split up the day by the 12 major Signs, their halves, and the 60-within-60 units in each Sign. The Star of David contains points separated each by 60 degrees, and 60 is a special number because it is the lowest one divisible by all numbers through 12 (minus 7 and 11 – the fabled digits). The 18-inch Cubit became “Lunar” because of its relation to the 18-year lunar “Saros,” wherein the phase and proximity of the moon would be exactly recycled yet one third around the world distanced from the original observation. Three (holy number) of these periods comprises one “exiligmos” (“turn of the wheel” in Greek) of 54 years, and by this magic math one can precisely predict eclipse cycles and tidal changes, because the moon will be exacted back to 3/3rds its rotation (full circle) in the same phase, altitude, azimuth, and even distance (between perigee and apogee) from Earth.
    The rosary of Christianity and the mala of Hindu or Vedic belief systems is made of 108 beads, a multiple of 54, relative to the (startling) 1080 foot-per-second speed of sound at freezing – relating the passage of vibratory waves through a compacted gas medium, the 1080-mile radius of the moon, the 108000 mile 1/8th radius of the Sun, and 1/24th the precession of the equinoxes. Henceforth, the overwhelmingly future-safe popularity of an 18-inch, 24 digit Cubit over the original was warranted for geomancers, Yogi, and Magi alike. To mathe-magicians, anyhow, 12s and 9s are quite definitive for cosmological theology. In fact, after the furlong and the Royal Cubit were mostly dispensed of, the blockbuster key tonality for music became the 108Hz ‘A’ note, mythically (or not so much) labeled the “solar tone.” The beautiful sound of mathematical symmetry in music performed in concert pitch 432Hz or ‘A3’ tuning was taken to quite rapidly by the artistic community, and the Grecian “Pythagorean Brotherhood” even considered the knowledge behind it quite empowering and critical in order to gain leverage over self and over community. They swore their lives upon this knowledge, and upon the rational harmonies of a sacred geometrical symbol called the “Tetractys,” also related to Egyptian/Hebrew Gematria and Vedic numerology, and protected the ancient science coherent to the mystery of the Golden Spiral (and its geometrically symbolic pentacle – similar to how 72 x 5 = 360), as well as the soon-to-be-added revelatory “Number of the Beast” pertaining to the living, geometrical Cosmos (as he who “hath understanding reckons this number): 216 (108 x 2) is 6 cubed (6x6x6). Even the Buddhists and Tibetans had their role to play in sacred geometry beyond mandala making and gong/mantra perfection; At the central Java province, Borobudur, the amount of statues at “The temple of countless Buddhas” is 432. To live a ripe old age of 108 (432/4) is still considered auspicious; and, even Angkor Wat of Cambodia is at 72 degrees longitude East of the pyramids of Giza, and has 72 major temples with 108 outlying towers surrounding Phnom Bakheng. For “Western” societal awareness, it might be noticed that the Vatican sits atop 108 acres.
    Mayan priest-Kings (high shamans), on the other side of the world, also observed these cycles and, similarly, kept the profound knowledge to themselves. Remaining records of Mayan astronomical majesty scarcely recognize the coveted eclipse prediction sciences. Kings had much political and economical power to gain from their own familiar kin group secrets. The Egyptian laborer’s (or geometer’s) one-inch “remen” measure of the Royal Cubit was analogous to the astronomically-correlated vegisimal (20 point) numbering system of the ancient Mayan people of Mesoamerica, too. Even the Mayan “xo’ot” construction/distancing unit of 144 feet is a numerical mind-blowing standard in multiplicity of that famous Egyptian/Indian/Hebrew ‘72.’ When the 12-inch, 12 digit foot measure was soon to come in Rome (an evolution of this science), the Maya were not too far behind in the game. 144 is 12 squared (and also the twelfth successive numeral in the Fibonacci sequence relative to Phi), and seems to be a fantastic way to encode some of the most brilliant research executed by the human species, yet these unexplainably alien numbers, to the rest of their mostly asymmetrical arithmetic, can only relate to the sorcerer’s secrets of the sun-moon conjunctions (or alignments) and the orbital tilt the Earth has in relation to it all. To cover things up, in yet another part of the world, only directed towards a global standardization, the first (and failed) international conference to impose ‘A3’note tuning to 440 Hz was organized by Nazi Propaganda Minister Joseph Goebbels in 1939. To remove the 432 Hz mastery from the public, obscuring it into “secret archives,” is to remove the smartest encoding system (involving cosmic numbers with physics) for our greatest achievements in civilization history (like Alexandria, burned books, and removed natives). Encoding this knowledge in architecture, art, gears, and in music keeps power with the people.
    Inquiring minds can always discover the truth: for the Maya, it was encoded in their “long count” only (their mathematical divisions of the observed precession of the equinoxes); 144000 days (400 years) is a Bak’tun, strikingly similar (surely astrological in symbolism) to the 144000 “survivors” in Revelations, and, also the length of time it takes for the Earth’s core (and magnetism) to rotate once around. This is binary, of course, like the makeup of so many things natural, as each 400-year Bak’tun (literally marking global historical paradigm shifts in Mayan philosophy) is actually 1/64th the time it takes for a Precession of the Equinoxes (25920 years). Again, as in many natural entities and/or events, there are connections to be made. Even their culturally unique 13/20 time measurement system of the 260-day long Tzol’kin calendar (differing from the Egypto-Euro12/60 system) might be called relative to the far Easterners; the 660-foot furlong unit of inch-conception, multiplied by two, equals 1320. It is not hard to deduce that a people would wish to create either a 20-point (660) or 10-point (1320) basis of mathematics, because the decimal and vegisimal systems are both easily counted on fingers and/or toes, each system requires simple input to produce larger multiplications or create scientific notation (power functions), and, as so coveted by the Kaballists, the Magi, and the Pythagorean Brotherhood (and acclaimed by Socrates), the 1:2:3:4 ratio triangular design of the mathematical wonder called “Tetractys” (and YHVH) adds right up to the human number 10.
    Fu Xi’s now popular I-Ching, a geometrical representation of Taoist Gnostic understanding and astronomical observation, is either seen as an eight-trigram circle or as a 64 hexgram circle. Human DNA contains 64 codons for genetic inscription. Every biological thing is somewhat diamagnetic (repelling magnetic fields and creating electrical charges as a product), and so, at least at the Biophotonic level, must be affected by these various “magi-cal” cycles. Geomagnetic hourhands and minutehands truly do alter the course of life on Earth – it’s just up to us to decide how we wish to self-consciously express it. Many Asian people still celebrate a 13-moon calendar, closer in precision to tidal motions, wildlife tracking or farming, and even human menstruation cycles. Music, measure, architecture, dance, gearing, and electronics are just some of the ways we’ve already integrated these strange numbers into our existence, and a common person can find them in any school, car, electrical system, or market place; these days, many of those who “know” are always seeking like-minded correspondence and partnership, and putting the signs right in front of us. The cosmic inch is multinational because of ground, sound, water, and the Light of the alchemical “One Thing” – that is the Sun, and all material elements because of it.

    ~Chronos is divided Light and matter; Kairos is curved Truth and cosmic ether; both are the equal and opposingly diametric measures of life itself. The grass is greener nowhere more than right here in the already Eternal Heavens, and we’re meant to enjoy it through Craft. Creation never ended. We are all one.~
    Brendan Bombaci

    ps: aside from all of this, when one tunes music to 432Hz, the ‘C’ note automatically becomes any number of multiples relative to 256: 512,1024, or opposingly, 128, 64 (like binary cellular or solar sequencing), 32, and all the way DOWN TO THE WONDERFUL NUMBER ‘1’ FOR THE FIRST OCTAVE. The way music IS and should always be. How easy would it be to tune all of your other notes if you were making a musical instrument with a keynote of some overtone/octave of “1”? Fantastically easy. Boom baba!

  4. Ed says:

    Nice comment. Thanks for that!

  5. Checkout article #2 at http://IceAgeCivilizations.com to see how the ancients established the length of the royal cubit by the rate of precession and simple hexagon geometry and arithmetic. And read under category Ancient Navigation at http://DancingFromGenesis.com to fleshout further the ancient global navigation and surveying system.

  6. I am glad to have provided that info – thank you, rather, for your interest in reading something so darned lengthy!! 🙂

    The article is called “Common Ground: A Dash of Music and an Inch of Sun” and, it has been altered a bit since that post, is now being edited by a great fellow at a large E-Zine publisher, and I look forward to having it touch the minds and hearts of over 100,000 people as soon as it rolls out. I am, needless to say, AMPED.

    From coordinating the cubit length to light and sound wavelength/speed differences (Egyptian people were fanatical about physics), to discerning how and why most ancient cultures even involve those particular numerals and geometries in their mythos/navigational methodologies (it’s mainly about Precession and lunar alignments), and even cross-referencing the Bak’tun of the Calendario Maya to Biblical Revelations (which I’ve never seen anyone else do)… I think it’ll help some people out.

    I mean, heck! If I could only get people on my “wave” about the A432 music thing! That, alone, would put an everlasting smile on my face.

    Cymatics would be much more meaningful (due to better understanding of harmonic overtones and the inherent sacred geometries in sound), to be sure…

    Light and Truth,
    Brendan Bombaci

  7. Ed says:

    Sound is light is matter. It is all the same stuff. If we could understand one aspect of our ‘reality’ sufficiently, the rest would follow. Perhaps then humankind could begin having some real fun for a change..

  8. RYAN SEARS says:


  9. hawk123 says:

    Harmonic numbers are 2 and 3 related.
    Disharmonic numbers are 11 related.

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About me

I'm a Media and Communications graduate from Goldsmiths College, London, a Project Manager and Web Developer (C#, PHP). In my spare time I like to write fiction, music, and read current affairs.

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