Changing from 440hz to 432hz, a new musical experience.

Hey guys, I've recently stumbled upon several articles telling of the benefit of listening to music tuned to 432hz, the natural tuning frequency.

Basically, some time in the past, somebody decided to tune our music (or de-tune) it to 440hz.

432hz sounds amazing, but I'll let the sound speak for itself.

When I listen to music done in 432hz, I can feel a big difference. Like you can feel what the music is doing instead of just hearing notes. It feels more spacious, and seems to fill the whole room, and go through your head. Basically 440hz is unharmonic, and 432hz is more pleasing to the ears.

www.collective-evolution.com...

omega432.com...

While listening to this, I suggest to ask yourself the following questions:
1. Do you feel a difference between one and the other?
2. How do you feel overall when listening to one versus the other?
3. Where do you feel the music or in what part of your body when listening to 440 hz and then to 432 hz?

Futher reading with examples:

oursolaris.blogspot.co.nz...

www.youtube.com...

reply to post by Cows11


See this recent thread:

www.abovetopsecret.com...

reply to post by Cows11



This is extremely interesting. I am, and always have been, very sensitive to sounds...especially in the lower range. I most definitely prefer the 432 and tell a huge difference.

Thread Closed



Thread re-opened as a non-conspiracy thread in BTS music.

Here's a quick & easy 432 Hz guitar tuning video. I've experimented with different tunings a lot.
You can find tunings that will make guitar chords ring like cathedral bells. It's very cool how notes will
ring together and sustain like crazy, even on an acoustic guitar. It's amazing how some tones sound so beautiful that you'll actually get goosebumps.

www.youtube.com...

I think it sounds flat. Probably because I am used to 440, but I like our western scale. It's easy to work with and the formation of chords is easy math. I think a symphony in 432 would sound like a catfight.

reply to post by Cows11


I will start producing my rap songs in 432hz since I'm trying to be a positive change anyways. Thank you for the info.

reply to post by Gemwolf


Thanks a million for unlocking my thread! People should hear this stuff

reply to post by westcoast


If you are sensitive, like me, you may be able to hear what I hear in this video.

The implications of this could be really huge..

www.youtube.com...

I was showing this video to my Mum, and I couldn't really talk to her because I felt it was really loud in the room. Like really loud. That's when I realised it was at a concert, that's exactly what it felt like. The sound was captured during the concert, and you can totally tell.

www.youtube.com...

In this video, you can tell they are in an Orchestra and they are being very silent, and concentrating, playing from their minds, playing a specific system or structure.

www.youtube.com...

On the complete opposite end of the scale, you can tell this piece was completely done from what they were feeling about the piece, you can see the difference.

www.youtube.com...

This is an extra one, which I'm not sure if many people will 'get'. But you can tell his rhythm and style is guided by his intelligence, relating to the mind instead of telling a story, or playing with emotion. You can hear it sounds nice, and he's really proficient at it. Just like playing a video game, or knowing all your times tables. Sounds nice, but doesn't mean much. Again, not sure if many people will pick this up.

So the question I ask is, and it sounds crazy, what if you applied this tuning to videos or recordings of stuff like the moon landing, to hear whats really going on when they recorded it? Could be true!

(from omega432.com)

INTRODUCTION OF 440HZ TO AMERICA
Concert pitch 440Hz was slowly introduced into the United States By navy-man J.C. Deagan.

Mr Deagan got his start in frequency when he was stationed in England whilst on active duty with the navy and attended a lecture by Hermann Helmholtz, a 19th century German physicist and physiologist who wrote “The Theory of the Sensations of Tone as a Foundation of Music Theory” in 1863. After the lecture, JC Deagan was inspired to create bells and chimes in 440Hz and from marrying into a prominent German cabinet maker family (the Funcke’s) he procured the funding and social status to persuade societies of music to change concert pitch to A=440Hz circa 1910. He continued to sell all pitch standards A=435Hz(French) A=454Hz(English) and A=461(American) until 440Hz was passed by the American Federation of Music in 1917. He then exclusively manufactured in 440Hz.

By the 1920′s America was slipping away into the purse strings of the international bankers via the registered Delaware corporation called the UNITED STATES and the tuning of American music became absolute with the passing of A=440Hz as a standard of concert pitch by the U.S. standards bureau in 1922. Mr Deagan also began importing children’s marimbas tuned to A=440Hz from Germany. During World War II, his call to arms 440Hz chimes were used in war time movie propaganda reels and still to this day can be heard as the call sign tone icon of NBC broadcasting, the notes E G C.

More information here: NBC CHIMES

Conspiracy?

This is tuned to 431hz
soundcloud.com...

reply to post by Cows11


A little research shows that the claims made for A = 432Hz are unfounded.

Origins of A = 440Hz

The Stuttgart Conference of 1834 recommended C264 (A440) as the standard pitch based on Scheibler's studies with his tonometer. For this reason A440 has been referred to as Stuttgart pitch or Scheibler pitch.

In 1939, an international conference recommended that the A above middle C be tuned to 440 Hz, now known as concert pitch. Source

There is no evidence, by the way, to show that A = 440Hz was a Nazi device promoted by Joseph Goebbels. The 440Hz standard had already existed for a century by the time the Nazis came to power in Germany. Moreover, it did not become universal till 1953, eight years after the Nazis had been defeated and Goebbels was dead.

A = 432 was never a standard or even a particularly common pitch

Until the nineteenth century there was no concerted effort to standardise musical pitch, and the levels across Europe varied widely. Pitches did not just vary from place to place, or over time—pitch levels could vary even within the same city. The pitch used for an English cathedral organ in the 17th century, for example, could be as much as five semitones lower than that used for a domestic keyboard instrument in the same city.

Some idea of the variance in pitches can be gained by examining old pitchpipes, organ pipes and other sources. For example, an English pitchpipe from 1720 plays the A above middle C at 380 Hz, while the organs played by Johann Sebastian Bach in Hamburg, Leipzig and Weimar were pitched at A = 480 Hz, a difference of around four semitones. In other words, the A produced by the 1720 pitchpipe would have been at the same frequency as the F on one of Bach's organs. Source

In the Baroque Era, pitch levels as high as A-465 (17th century Venice) and as low as A-392 (18th century France) are known to have existed. A few generalizations can be made:

• pitch was high in North Germany and lower in South Germany
  
  
• pitch was low in Rome but high in Venice
  
  
• pitch in France depended on whether you were playing chamber music, opera or something else.

Pitch levels in the Renaissance and Middle Ages were similarly varied according to location and historical period. By the Classical period there was more interest in standardized pitch levels, again as a matter of convenience for traveling musicians. Source

Even in nineteenth-century America, there was no agreed 'standard pitch'.

In 1879 Steinway in New York used a tuning fork which produced A=457.2 while Chickering in Boston preferred A=435, the international pitch standard established by a French Commission in 1859. Source

Here are some examples of pitches used before standardisation

Why have a standard pitch, anyway?

Why did the 440Hz standard emerge? Basically, it was a child of the Industrial Revolution and the era of professionalism, mass production and mass consumption ushered in by it. Music sounds pleasant to the ear no matter what pitch it is played in, so long as the singers and instruments are all in tune with each other. There's no need for a standard pitch. But when fixed-pitch instruments like oboes and flutes had to be manufactured on a mass scale, it was convenient to make them all have the same pitch. This also helped travelling musicians, whose numbers were multiplying as audiences increased in size and number. Singers, especially, found it hard to change their vocal pitches to match those of the instruments of local orchestras and church organs they performed with; variations in pitch might make their parts impossible to sing. And, of course, listeners with perfect pitch would be driven crazy by performances and gramophone records of music that drifted too far off the pitch they were accustomed to thinking of as the 'right' one.

Introducing a standard, then, was a practical measure. A = 440Hz emerged as the accepted reference standard among the many proposed or in use at the time. It was a good compromise and easy to produce electronically (and therefore accurately).

Why a Pythagorean origin for A = 440Hz is impossible

What is the 'frequency of a sound'? Put crudely, it is the number of sound waves produced per second. Before you can determine that figure, you need to be able to measure a second (or some other short interval of time) with high and consistent accuracy. How do you think Pythagoras, who lived in an age which told time by sundials and water clocks, could have managed that? How did anyone manage it before accurate chronometers were invented in the nineteenth century? Answer: they didn't, because they couldn't.

Why the New Agers are wrong

Today, New Agers tell us that A = 432Hz is a 'natural' standard because it is a whole-number multiple of the Schumann fundamental, or because, in Pythagorean tuning, A = 432 gives us frequency values for the other notes of the scale that are all whole numbers. Both claims are easily disproved, because

1. The Schumann fundamental is not 8Hz, as the New Agers claim, but 7.83Hz, and 432 is not a whole-number multiple of 7.83.
   
   
2. Even if tuning to A = 432Hz really does give whole-number frequency values for the other notes (I haven't done the arithmetic to see if it is so), a second is an arbitrarily defined interval of time with no intrinsic physiological significance to human beings. Use a different interval (1.1sec, say) and the whole correspondence falls to pieces, so it cannot possibly have a real physical or psychological meaning.

Out of tune with reality

But never mind all of the above. A few seconds reflection is enough to show that these claims are so much twaddle. Here's why. Musical pitch couldn't be analysed in terms of frequency until the nineteenth century, since neither the concept nor the equipment necessary to measure it existed!

The adoption of A = 440 as 'concert pitch' did not replace a previous standard of A = 432. No such standard ever existed in either the ancient or the modern world. It is not known that Pythagoras or his disciples tuned anything to 432Hz. A = 440 was an acceptable compromise that was also easy to produce electronically and therefore accurately. That's really all there is to the story.

reply to post by Astyanax


Interesting. I read another article saying the same thing. Interesting thing is, when I changed the tuning on my keyboard, it stood up with the OP's claims.

reply to post by Lynk3


Actually, this is a great example of 432 at work.

"The Cosmic 432"



Part 2



And my track using 432..

Merger Frequency

reply to post by Lynk3

Interesting thing is, when I changed the tuning on my keyboard, it stood up with the OP's claims.

Meaning that it sounded different, and better, to your ears?

That proves nothing, I'm afraid. Different 'standard' pitches do make the same piece of music sound a bit different, but (as my earlier post shows) there is no universal preference for one standard pitch over another. Different frequencies for different folks.

I expect you also understand that the whole business of standard pitches is confined to Western music, and that there are countless local musical traditions around the world that have their own scale and pitch systems.

Interesting topic! Definitely going to research further.