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A Revolution in Music

 

The Frequency War Between

A at 440cps and A at 432cps!


A Brief History of Musical Tuning


Mozart,  Rossini and  Verdi 

all favoured the lower pitch of A at 430cps (hz) or 432cps (hz) -


so, When, Who and Why was the present standard tuning of A=440 established and against so much opposition by the classical musicians ?

In the mid 20th Century the standard tuning of the note of A was raised to 440hz (cycles per second)

Here is some of the history.

 Lyndon LaRouche is a respected authority on this subject and has specifically established the Schiller Institute as a forum for informing and explaining to both professional and armature musicians, as well as the musically interested public the historical  facts behind  the relatively recent introduction in the mid 20th century of tuning  A at 440hz ,   as opposed to the well established  C = 256 oscillations per second (hz) or ‘do’.

I have started with article by Lyndon LaRouche - Revolution in Music: 
A Brief History of Musical Tuning that is most informative  http://www.schillerinstitute.org/music/rev_tuning_hist.html

 Part 1 Revolution in Music:  A Brief History of Musical Tuning - by Lyndon LaRouche.

Reprinted from FIDELIO Magazine,
Volume I, No. 1, Winter 1991-92

The first explicit reference to the tuning of middle C at 256 oscillations per second was probably made by a contemporary of J.S. Bach. It was at that time that precise technical methods developed making it possible to determine the exact pitch of a given note in cycles per second. The first person said to have accomplished this was Joseph Sauveur (1653-1716), called the father of musical acoustics. He measured the pitches of organ pipes and vibrating strings, and defined the ``ut'' (nowadays known as ``do'') of the musical scale at 256 cycles per second.

J.S. Bach, as is well known, was an expert in organ construction and master of acoustics, and was in constant contact with instrument builders, scientists, and musicians all over Europe. So we can safely assume that he was familiar with Sauveur's work. In Beethoven's time, the leading acoustician was Ernst Chladni (1756-1827), whose textbook on the theory of music explicitly defined C=256 as the scientific tuning.Up through the middle of the present century, C=256 was widely recognized as the standard ``scientific'' or ``physical'' pitch (see Figures 13 and 14).

In fact, A=440 has never been the international standard pitch, and the first international conference to impose A=440, which failed, was organized by Nazi Propaganda Minister Joseph Goebbels in 1939. Throughout the seventeeth, eighteenth, and nineteenth centuries, and in fact into the 1940s, all standard U.S. and European text books on physics, sound, and music took as a given the ``physical pitch'' or ``scientific pitch'' of C=256, including Helmholtz's own texts themselves. Figures 13 and 14 show pages from two standard modern American textbooks, a 1931 standard phonetics text, and the official 1944 physics manual of the U.S. War Department, which begin with the standard definition of musical pitch as C=256.[1]

Regarding composers, all ``early music'' scholars agree that Mozart tuned at precisely at C=256, as his A was in the range of A=427-430. Christopher Hogwood, Roger Norrington, and dozens of other directors of orginal-instrument orchestras' established the practice during the 1980's of recording all Mozart works at precisely A=430, as well as most of Beethoven's symphonies and piano concertos. Hogwood, Norrington, and others have stated in dozens of interviews and record jackets, the pragmatic reason: German instruments of the period 1780-1827, and even replicas of those instruments, can only be tuned at A=430.

The demand by Czar Alexander, at the 1815 Congress of Vienna, for a ``brighter'' sound, began the demand for a higher pitch from all the crowned heads of Europe. While classical musicians resisted, the Romantic school, led by Friedrich Liszt and his son-in law Richard Wagner, championed the higher pitch during the 1830's and 1840's. Wagner even had the bassoon and many other instruments redesigned so as to be able to play only at A=440 and above. By 1850, chaos reigned, with major European theatres at pitches varying from A=420 to A=460, and even higher at Venice.

In the late 1850's, the French government, under the influence of a committee of composers led by bel canto proponent Giacomo Rossini, called for the first standardization of the pitch in modern times. France consequently passed a law in 1859 establishing A at 435, the lowest of the ranges of pitches (from A=434 to A=456) then in common use in France, and the highest possible pitch at which the soprano register shifts may be maintained close to their disposition at C=256. It was this French A to which Verdi later referred, in objecting to higher tunings then prevalent in Italy, under which circumstance ``we call A in Rome, what is B-flat in Paris.''[my emphasis in bold]

Following Verdi's 1884 efforts to institutionalize A=432 in Italy, a British-dominated conference in Vienna in 1885 ruled that no such pitch could be standardized. The French, the New York Metropolitan Opera, and many theatres in Europe and the U.S., continued to maintain their A at 432-435, until World War II.

The first effort to institutionalize A=440 in fact was a conference organized by Joseph Goebbels in 1939, who had standardized A=440 as the official German pitch. Professor Robert Dussaut of the National Conservatory of Paris told the French press that: ``By September 1938, the Accoustic Committee of Radio Berlin requested the * British Standard Association to organize a congress in London to adopt internationally the German Radio tuning of 440 periods. This congress did in fact occur in London, a very short time before the war, in May-June 1939. No French composer was invited. The decision to raise the pitch was thus taken without consulting French musicians, and against their will.'' The Anglo-Nazi agreement, given the outbreak of war, did not last, so that still A=440 did not stick as a standard pitch.

A second congress in London of the International Standardizing Organization met in October 1953, to again attempt to impose A=440 internationally. This conference passed such a resolution; again no Continental musicians who opposed the rise in pitch were invited, and the resolution was widely ignored. Professor Dussaut of the Paris Conservatory wrote that British instrument makers catering to the U.S. jazz trade, which played at A=440 and above, had demanded the higher pitch, ``and it is shocking to me that our orchestra members and singers should thus be dependent upon jazz players.'' A referendum by Professor Dussaut of 23,000 French musicians voted overwhelmingly for A=432.

As recently as 1971, the European Community passed a recommendation calling for the still non-existent international pitch standard. The action was reported in ``The Pitch Game,'' Time magazine, Aug. 9, 1971. The article states that A=440, ``this supposedly international standard, is widely ignored.'' Lower tuning is common, including in Moscow, Time reported, ``where orchestras revel in a plushy, warm tone achieved by a larynx-relaxing A=435 cycles,'' and at a performance in London ``a few years ago,'' British church organs were still tuned a half-tone lower, about A=425, than the visiting Vienna Philharmonic, at A=450.

1. Charles E. Dull, {Physics Course 2: Heat, Sound, and Light: Education Manual 402} (New York: Henry Holt, April 1944).


End of Article by Lyndon LaRouche

* The British Standards Institute was established in 1901 - 10 years after 1891, Feurary 5th that Cecil Rhodes along with Lord Rothschild, and others, the setting up of the Committee 300 with the objective to promulagate a worldwide British plutocracy. The establishment of BSI  or BSi -  "British Standards Institute Starting  - in 1998, BSI Group has adopted an aggressive policy of international growth through acquisition.http://en.wikipedia.org/wiki/BSI_Group



A Revolution in Musical Tuning:  Part Two

The difference between the frequency of 440 ops (hz) and  432 ops (hz)

Different frequencies have different effects on human beings, live organisms and inanimate matter. 

NOTE: ops =oscillations per second;  cps = cycles per second; both are actually correct and relavent terms. Whereas, the modern usage of  'Hz'or' hz ' or 'Hertz' which arose out of the name Hertzholm - the name of the man and is actually meaningless to the action relatedto the number given, be that432 or 440 .


A=432 ops - The Frequency That Expands Our Consciousness!

A at 432 ops is mathematically consistent with the Fibonacci series of numbers, and therefore universal design.


When we understand the difference of the two hemispheres of the brain- the left side (relates to the right side of the body) and is rules the masculine qualities such as Mind, whereas the right side of the brain is the related to the feminine qualities of life and rules the Left hand side of the body) such as emotions from the Heart. Both sides of the brain need to be in balanceare equally necessary but need to be in balance.

In an article on 432 ops Brian T. Collins points out that: 432 ops is centred in the heart, whereas the A pitched at 440 ops (oscillations per second) is centred in the mind.

432ops vibrates on the principal of the golden mean PHI

and unifies the properties of light,

time, space, matter, gravity and magnetism and biology,

the DNA code and consciousness�.

And what is vital to grasp is that:

�Natural tuning has profound effects on consciousness

and also on the cellular level of our bodies.

and

By returning musical instruments and returning to concert pitch at 432ops

instead of 440 ops

our atoms and DNA starts to resonate in harmony with the PHI spiral of nature�.

The Fibonacci series of numbers, which mathematically express universal design

On his website Brian Collins comments that the he has noticed extremely agitated individuals relax their breath and bodies the instant they hear music pitched to A at 432 ops (hz) people are not always able to tell the difference which is just 8 ops (hz) but can feel the 432ops (hz) as warmer - which is due to the longer wavelength. best way to experience the 432Hz difference is by listening. He remarks �In either case, all agree that there are positive results in the listening experience at 432opc (hz).�


Seeing the difference between 440ops (hz)  and 432ops (hz)

On the website Switching to Natural 432hz http://inspiritualization.com/switching-to-natural-432hz-harmonics/ there is an visual image taken by a Cymascope of the difference between 440 and 432. 

On web site Source Cymascope  http://www.cymascope.com/index.html scroll down to Manual Chladni Plate demo - "The Chladni Plate is a simple apparatus that demonstrates the cymatic power of sound to create form from formlessness". Here you can watch the very short video demonstration.

Then on the next video down watch  the Electromechanical Chladni Plate demo-This modern version of the Chladni Plate demonstration uses an electronic oscillator and mechanical transducer to drive a square metal plate that has been strewn with sand. The variety of patterns that form on the plate each have a mathematical relationship with the sounds that created them so in a sense the patterns represent an analog of the sounds made visible.


NOTE: Brian Collins, has written a great deal and has or had, an excellent website, (which is at present unavailable due to recent sabotage!)  http://www.omega432.com/music.html dedicated to posting articles supportive of this growing musical metaphysical movement for recovering optimal spirituality, through music therapy. *I have recently found that the web link provided of Brian Collins isn't working due to it being sabotaged. At the time of reading this info here you still may not be able to access Brian's website. However many others have quoted his  

Seeing the Forms of Changing Frequencies - Hans Jenner 1960's

These original films of Cymatics experiments were made in the 1960's by Swiss scientist, Dr. Hans Jenny Part 1 of 3 http://www.youtube.com/watch?feature=player_embedded&v=05Io6lop3mk#! Part 2 of 3 http://www.youtube.com/watch?v=ahJYUVDY5ek as you watch the video you will see that the forms on the plate change before your eyes as the frequency of the sound being emitted from a separate source, changes pitch. As he states on the video "Everything owes its existance soley and completely to sound. Sound is the factor which holds it together. Sound is the basis of form and shape. In the beginning was the word and the word was God. WE are told that this is how the world began and how creation took shape. If we put that into the modern idiom and say that the great voids of space came a sound and matter took shape." He ends his introduction, by saying "Please watch carefully."
(Now available on a single composite DVD, entitled Cymatic SoundScapes: Bringing Matter to Life with Sound. www.cymaticsource.com 


I suggest you try googling < Brian Collins 432 > Here is one site http://musicians4freedom.com/2011/09/brian-collins-explains-concert-pitch-a432-hz or  <tuning 440vs 432> and here you will find The Cosmic 432 & The Musical Conspiracy - Part 1  http://www.youtube.com/watch?v=9e9-P_zbjbY

Alternative sites that have also promoted Brian Collins writings are:
http://finalequinox.com/viewtopic.php?f=5&t=4032

However, when we begin to truly understand the nature of frequency or oscillations and gradually come to realize that the entire cosmos, let alone the planet we reside - and all of, in and on it - is vibration. Vibration of differing frequencies! Differing frequencies having an specific effect on everything - as per the 'butterfly effect' and the famous quotation attributed to William Shakespeare �If music be the food of love play on ...� clearly acknowledges the immense nourishing power of both love and music and equates them as one. Most people are well acquainted with the great and wonderful power of love.

As we begin to have a better appreciation of the nature of vibration, the different frequencies and just how we can be effected by them, we will begin to acknowledge and understand just one of the the vital links as to why there is so much violence in the world � we, especially in the Western world have been have been literally 'de-tuned'.

This has been the case especially so from around the late fifties into the sixties when 'rock and role' and popular music specifically for the youth of the day 'took off' so to speak, using the present day standard pitch of A=440 ops.

Brian Collins reminds his readers that - �

440 ops does not harmonize on any level that corresponds to

cosmic movement, rhythm, or natural vibration�.

He also reminds his readers that �

most western music, including popular 'New Age' music is

still tuned to the unnatural A=440 ops .

The difference between A=440ops and the A=432ops is only 8 vibrations per second, but it is a perceptible difference in the human experience�. [my italicized emphasis]

Regarding the orchestras playing classical music, in an article by Lyndon LaRouche �A second congress in London of the International Standardizing Organization met in October 1953, to again attempt to impose A=440 internationally. This conference passed such a resolution; again no Continental musicians who opposed the rise in pitch were invited, and the resolution was widely ignored. Professor Dussaut of the Paris Conservatory wrote that British instrument makers catering to the U.S. jazz trade, which played at A=440 and above, had demanded the higher pitch, ``and it is shocking to me that our orchestra members and singers should thus be dependent upon jazz players.�

A referendum by Professor Dussaut of 23,000 French musicians voted overwhelmingly for A=432.


Certainly in France, it is quite clear that the classically trained muscians are absolutly against the rise in pitch

Again quoting from Lyndon LaRouche's �As recently as 1971, the European Community passed a recommendation calling for the still non-existent international pitch standard. The action was reported in ``The Pitch Game,'' Time magazine, Aug. 9, 1971.

and also else where muscians are against it as:

The article states that A=440, ``this supposedly international standard,

is widely ignored.'' !

Lower tuning is common, including in Moscow,

Time reported, ``where orchestras revel in a plushy, warm tone achieved by a larynx-relaxing A=435 cycles,''

This 'larynx-relaxing A=435 cycles' is absolutly what is needed by the singer for the throat to remain open!

Some of the great singers who put their foot firmly down!

A case in point as early as the mid 1800s was English tenor John Sims Reeves (1821–1900) who was a foremost singer of operatic, oratorio and the Victorian ballad. Sims Reeves  was not alone and other great  international singers such as:

the great prima donna absoluta, Adelina Patti (1843 â€“1919) and  Christine Nilsson (1843 - 1921) 

have complained regarding the rise in pitch...

Sims Reeves was obviously getting so out raged by the rise in pitch which gives no consideration to the singer,that at one of the  Crystal Palace  triennial festivals Reeves felt it necessary to make public representations against the constantly increasing rise in English  Concert Pitch,  (which was by then half a tone higher than elsewhere in Europe and a full tone higher than in the age of Gluck.’)   Sir Michael Costa resisted the change, and Reeves finally withdrew his services from the Crystal Palace Handel Festivals, performed by the Sacred Harmonic Society, before the 1877 festival. For this reason he did not appear with the Sacred Harmonic Society thereafter.


  Similar demands regarding resisting the increase in pitch occured on another occasion at the Birmingham Festival where senior artistes at Drury Lane forced the lowering of the pitch of the organ. and at a performance in London ``a few years ago,'' British church organs were still tuned a half-tone lower, about A=425, than the visiting Vienna Philharmonic, at A=450�.http://en.wikipedia.org/wiki/John_Sims_Reeves


All had very good reason to demand the lowering of the pitch!


Basically, the musicians have been forced into using the higher pitch due to the manufacturers making the instruments at the higher pitch. It would seem that the instrument makers have not paid heed to the musicians ...so just who have they been influenced by?

Regarding orchestras playing at A=440 to quote the article written in 1971 states that:

``this supposedly international standard, is widely ignored.''


A at 432 has actually become known now as 'The Verdi tuning'!

Those for the lower pitch of 432ops -  To mention just three great composers Mozart (1756-1791), Rossini (1792-1868), and Verdi (1813-1901). All appreciated the natural vibrations and A=432ops was preferred by them, and undoubtedly they were many other classical composers  who used A at 432 ops. Due to Verdi's endevours to standardize A at 432ops in Italy,


What is most interesting to review is the history of different pitches used to tune to will be found in the link below. A variety of pitches were used for tuning organs and pianos from the year 1640 to 1939 http://www.piano-tuners.org/history/pitch.html


The differet effects of the A=432 vs A=440 frequencies have on usis wide ranging and profound.


Listen to the A=432 vs A=440 frequencies

�By retuning musical instruments and using concert pitch 432 Hertz instead of 440 Hertz, you can �feel� the difference of connecting to natural resonance.

�The best way to experience 432Hz is to listen to it.� http://www.omega432.com/music.html

According to an article written by Brian T Collins in Trust, �432Hz vibrates on the principles of natural harmonics and unifies the properties of light, time, space, matter and gravity and magnetism with biology, the DNA code and consciousness.

On the above site you can listen to 432 ops (Hz) played - the pitch Verdi wanted to establish - and then 440 Hz played (the one Joseph Goebbels, Minister for Propaganda in established Nazi Germany in the 1940s) and become aware of the different effect on your body! I found a striking difference. It is exciting to realize that 432 ops Natural Tuning has profound effects on consciousness and also on the cellular level of our bodies.

The Visual Images of Sound - Cymatics

The visual images and Geometry of sound - Cymatics - a demonstration of Hanns Jennys original acoustic tonoscope, showing how the human voice can create harmonic patterns showing the changing form in relation to the pitch sung. http://www.cymaticsource.com/video.html

Brain Wave Vibrations Affect The Brain of a Child

The video below �The Secret of Brain Wave Vibrations� shows and speaks about how the brain of a child is formed by its environment how we can maintain good heath and vibrancy http://www.youtube.com/watch?v=kKwD7oYnYmM&feature=related

Bach's Aria Suit 3, A = 432 Hz http://www.youtube.com/watch?v=urjEwg_yXiQ&feature=related and note how you feel while listening to it.

Purchasing Tuning Forks

To Purchase Tuning Forks: http://swb256.com/ or phone - 571-366-7863 If not calling from the US use country code 001 followed by the number.

Or write to : SWB, 25513 Mile Road, Redford, ML 48239. United States

Single or multiples of A= 432 ops (Hz) (La of the fixed solfeggio)

or Verdi set of 3 - C=256ops (Hz), A=432ops (Hz), C=512ops (Hz) (C=Do on the fixed solfeggio)

�In 1884, Guiseppi Verdi had the Italian Government issue a decree establishing A+ 432 cycles (corresponding to C=256) as the �scientific standard pitch�, correctly stating in a letter to the government Music Commission that it was absurd that �the note called A in Milan should become a B flat in Rome�.

Today, for the human singing voice, and for many instruments, among them the Cremona violins ancient organs and even the piano, modern high tuning is deleterious, in that it does not take physical laws into account.

Thus for more than two decades bel canto artists and other musicians have insisted on the lower, natural tuning, to protect voices and to allow for the true poetic intention of the classical composers beginning with J.S.Bach. Save the singing voice! Do as Verdi insisted�. As quoted on their web page http://swb256.com/

To Download a program called Audacity: How to Re-tune the music you download to your computer to A=432Hz frequency and expand your consciousness!

Free to download. Basically what you do is you import your audio, any song you want and when you import that into the program you

Highlight the entire wave form of the song you've imported, then you go to Effects, then go down to Change Pitch, and you change the pitch from 440 Hz to 432Hz and that will harmonize the song, and you can do that with any song you want.

You will actually activate your DNA, by expanding your consciousness just like that!



�If you only knew the magnificence of the 3, 6 and 9, then you would have the key to the universe� Tesla.

432 = 9 !






Healing Tuning Forks


The Sacred Solfeggio Tuning Forks heal through their specific frequency.

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