440hz Music - Conspiracy To Detune Us From Natural 432Hz Harmonics?

reply to post by C21H30O2I


You can get a musical high from listening to certain tone freq. If you use the right frequency you can activate your 3rd eye witch is covered by our flesh and when the penal gland vibrates in harmony with the flesh you can see into the other side and out of the 3d matrix or what some call a hologram. you will see into the other side , and be able to talk with the elders.

Try it if you dare.

Look it up first. There is a frequency for everything.

reply to post by C21H30O2I


You should buy a piano and sit there and press A and then A#(A sharp/B flat) over and over again.

Then you will understand that both notes are important and that's why they exist on the piano.

The first song starts in A and the second one starts in A sharp/B flat...aka A#

edit: Also when you press those two notes at the same time they don't sound well together. One of the reasons that video sounded "wrong" is because the first piece started in A while the second one started in A sharp. Those two keys sound annoying when meshed together. However, if you had started the first piece in F sharp then in A sharp it would have sounded fine as those two keys go great together.

www.zebrakeys.com...

Neither key is any more or less important to the grand scheme of the universe. Both are important to music composition and classical pieces in general.

Simply tuning a piece up or down doesn't make the topic true on any level.

Good music is good music. I don't care what frequency it's in. It's not meant to be complicated.

Umm. What a total load of cods-wallop.
I'm sorry, but I dont think you understand even the basic principles about sound. There is no conspiracy, and I did try and watch the "awesome" video.
A. I lost all respect when it asked me 'witch' loop sounds better. Then it started with a regular glitch/pop/crackle in a demo all about sound quality. They are not even trying to be professional for gods sake, oh and the music contains a myriad of different frequencies which is stupid at displaying whatever inane point this is supposed to be stating.
MAYBE if you listen to a single note played at 432hz it might resonate better with you than 440hz. But thats only if your listening to a single note and is a personal appreaciation.

Wowsers.

reply to post by OrphanApology


Thanks! I wish I hadn't posted now, I was cross and snappy at the ignorance. But you did a wonderful job explaining things. Cheers

reply to post by C21H30O2I


Too funny. Brainwaves top out at about 47Hz and that high level is achieved by brainwave entrainment which is actually really really good for your thought processes. Bodies operate at the beta level in the day to day somewhere around 12-27Hz.. In a relaxed state of alpha it is lowered to about 8-12Hz.In the light REM sleep or theta it's about 3-8Hz and in deep sleep or delta range it's 0-3Hz. You go through all of these states every single day. You can achieve lower episolon states with brainwave entrainment software . The lowest states are associated with deep body repair and the production of good hormones like HGH. HGH or human growth hormone is associated with youth and health Some people pay upwards of $10,000 for HGH treatments.With brainwave entrainment you can get the hormone for free.
Higher started like gamma around the 40 range is associated with improved thought processes and feelings of love and benevolence.
They sell brainwave entrainment software and there are no adverse effects on record for their use. Only beneficial effects. I've studied their effects for years. No one who meets me thinks I am 56 years old.

reply to post by The only 1 who knows the


What ever. Been doing brainwave entrainment for years and years and although there is a benefit to the lower states like increased creativity there is no nonsense like this going on. Low states will put you in closer touch with the subconscious much like hypnotism. You can solve a multitude of problems with it but you need the cds or mp 3 and headphones to obtain this state and get these benefits.
People only have two eyes generally. Third eye stuff is carp. New age nonsense.

Being a musician I've come across this theory before, but mostly ive heard it from a flakey stoner keyboard player who I occasionally work with. And as the particular tuner I use doesn't have a calibration feature this causes my hippy colleague some ire, when I rehearse or gig with this guy we all have to use standard 440hz tuning, the horror!!!

Personally I think this particular conspiracy is complete BS. I've listened to and played music in 432hz and aside from the obvious pitch difference there is zero change in "how the music feels". It should be noted that 432hz is one note, A, when you're playing a song how many times do you hit an A, even if that's the key center? Most classical orchestras tune above 440hz due to the characteristics of some of the instruments, as far as I'm concerned the standardization is more of a reference point. People who say they hear how 432hz music feels or sounds better are easily influenced IMO, that is all.

seabhac-rua
It should be noted that 432hz is one note, A, when you're playing a song how many times do you hit an A

I thought that the frequency of all the notes on the instrument would have changed slightly, giving the song different harmonics and feel?

Modern Standard Tuning (A = 440 hz, C = 261.63 hz)
C 261.63
D 293.66
E 329.63
F 349.23
G 392
A 440
B 493.88

Stradivari/Verdi Tuning (A = 432 hz, C = 256 hz)
C 256
D 288
E 324
F 352
G 384
A 432
B 486

reply to post by C21H30O2I


I say this not to cast doubt on the premise; after all, I'm pitched all over the place by sounds: I would probably prefer the 440 option if it were followed by an even higher range, and so on.

reply to post by Isolation


The starting point is not the issue with natural resonances. It's the actual scale. Pythagorean, well tempered, and just intonation all use different tunings which are the actual distances between each note (interval). Pythagorean uses the harmonic that corresponds to the 5th or what's down as the third partial. So a chain of infinite 5ths stretches in both directions using the 3rd partial. It never creates a circle because the ratio of those two notes together (the tonic C and G for instance) is 3:2 which means for every C at two waves or beats there are 3 waves or beats for G that is a true perfect 5th.
In just intonation every partial can be used to create a tuning. So there are different harmonics or partials used to create a scale. For instance the true major 3rd is the fifth harmonic of your root note whatever it is but lets use C. So the ratio that corresponds to the major third is 5:4. For every 4 waves or beats for C there are 5 waves for E. The seventh partial of C is Bflat which is a minor 7th but not our tempered minor 7th it is represented by the ratio 7:4. These intervals can be heard in a lot of world folk music but also in classical Indian music. Theses scales are created by linking harmonics.

Then came well tempering, which was diluting one or many notes by creating an exact half step (which doesn't occur in nature) but allows the musician to change keys. Because harmonic intervals are prime number ratios they never create a circle. The ratios are not even so when you try to change keys there are entirely different sets of interval ratios in the next key which may or may not even sound musical. So in the west and in Arabia they detuned notes to create a perfect half step in key spots so when modulating to a new key it would sound how the composer wanted it to. In Arabia they use exact quarter steps that also don't occur in nature but in Indian raga the notes people often say are quarter notes are actually harmonic ratios of interlocking harmonics. So when you get g from the 3 rd overtone from c in the harmonic series you can also get B from the third harmonic of g then you have a true major 7th but, if you try to switch to the key of B the notes you were using for the key of C are no longer related the same way and have in most cases a sound not entirely usable. People who use just and Pythagorean tunings don't usually change keys.
The tempered tuning we use now is completely detuned there are no notes that are natural harmonics except the octave. The exact half steps are only representations of there harmonic ancestors and were created for the sake of changing keys and large orchestras being on the same page. But the scale is all out of tune and has no natural harmonics. The fifth is only 2 cents off but by the end of the circle you are about a quarter step off. E is 14 cents off from C. For an experiment hit the g# harmonic on an e string of a guitar it's the major third harmonic and then hit a G# on the piano and they are very different. So it's all about the intervals not the starting point. The starting point was conceived for instrument ranges not some covert mind control. In India they consider C# the note of the earth but every body plays and sings within the range of the instrument. If your vocal range is best at A 440 that's where you start and the just scales all relate to A as your starting point. If its Bb than the same goes for that and so on.

What we have that has messed with our ears and minds is the tempered tuning. But it's fine, the pay off was post baroque classical and jazz. But just intonation is making a comeback. Many modern composers have used it. Even Yo yo ma has recorded in baroque well tempered tunings.

reply to post by Isolation

Yes you are correct.

My point is that only one note(A) on an instrument would be at 432hz. All the rest would be relatively pitched.

I have often played music with other musicians where we didn't use tuners, we would all tune to the saxophone or whoever had their instrument 'ready to go', and the chances of us all being in standard tuning would have been slim. An old teacher of mine, who was an upright bassplayer, used to tune his bass by ear, he knew the instrument well enough to know it's 'sweet spot' and I would have to tune my instrument to him, was in in 440hz? No, when I would get home and tune my bass with a tuner it would be way out. Similarly, many recordings are pitched out of standard, I know this from having to tune my instrument to them so I could play along, does a song "feel different" pitched out of standard? I don't think so at all.

A lot of guitar players detune to Eb and use heavier gauge strings, but I have played with guys who simply drop their pitch by small increments, and again I would have to switch my tuner off and tune to their instrument. My point is this: when it comes to tuning, it's all relative and very subjective, but from my experience there are mostly mechanical reasons for not using standard 440hz, and it has zero to do with new-age tomfoolery. The idea that a song played with instruments tuned at 440hz, 432hz, 445hz, and even 450hz will somehow affect the listeners state of consciousness is complete rubbish as far as I'm concerned. Yes, a person with good ears will be able to actually hear the difference, but most people won't and it's their imagination that takes over.

OrphanApology
reply to post by C21H30O2I

 

You should buy a piano and sit there and press A and then A#(A sharp/B flat) over and over again.

Then you will understand that both notes are important and that's why they exist on the piano.

The first song starts in A and the second one starts in A sharp/B flat...aka A#

No, you are wrong, sorry.
Both examples start in A#, but the first one is tuned down 8hz. The difference between semitones is approx 26hz, not 8hz. So that means the de-tuning is only 1/3 of a semitone.

And just for those who are interested, it's the third note in the piece which is the 'A' .

seabhac-rua
reply to post by Isolation

 

Yes you are correct.

My point is that only one note(A) on an instrument would be at 432hz. All the rest would be relatively pitched.

I think the original argument is that the whole scale has been shifted 8hz. It doesn't matter if you only play A once, or not at all. The only reason 432hz gets brought up a lot is because that would be the 'A' which people tune to. There's nothing magical about that specific frequency; rather it's the whole spectrum of usable frequencies, or scale, that is important.

And, FWIW, I have noticed in the past when bands release a song that is slightly tuned up/down. Not sure how much it effects consciousness but it definitely stands out. I've noticed this as a child before I knew very little about music, or even what a hZ was.

Just my 2p

Oh my......excellent post op and it ties in with one that I wrote on here. I'm sick of posting links to it coz many dont see its significance because they don't understand.
Im pleased you posted this because its a massive topic.
Eric Dollard
WiFi signals and radio frequencies cloaking the planet including space satellites. The thread I tried to write and share still today is hard to explain.
There's hope though I suppose because your post here, and another what it looks like if wr could see signals, the die off or beach strandings posts, and my thread are imho connected.
Frequencies. Vibrations are a massive part of everything.
primary colours?
Primary sounds?
Primary tones?
What are they?
Sight sound touch
solar connection in relation to planetary frequency which leads me to a depleted earth energy which in turn...........?

To add.
Energy Companies. How could you do what I think you've been doing?

found this.... not very nice....

www.roelhollander.eu...

reply to post by Luthierbrown


Good explanation. My understanding was prior to well-tempered tuning, musicians used natural tuning. This makes sense as much of the music being written was more choral, so voices naturally went to pitch incrementals that were not even divisions. The development of many of our modern instruments had not occured yet and the composers, Des Pres, John Bull, Palestrina were writing primarily sacred rather than secular, so resonance in cavey churches and cathedrals would allow the singers to adjust pitch naturally to their conditions. There is a large movement in the classical music community that has espoused this method and there are many recordings along these lines. I really think that as technology developed and allowed more sophistication in instrument making, the advent of temperament became the more viable tuning. I.e. Beethoven going deaf coincided with the industrial revolution allowing wire strings and poured metal soundboards to be made. Many brass instruments were still at this time, primitive and left to accent orchestrally 4ths, 5ths, and octaves. It wasn't until the 1980's when David Monette started building his trumpets that that instrument reached its pinnacle. Like some others posting, when I've been playing with tunable instruments, the ear often dictates tuning and subtle increment adjustments. When playing with keyboards, adjusting to their pitch is necessary and forces a different set of ears. I never got too hung up on frequencies, only being in tune with the family of players I was playing with. Some people play flat, some sharp, some hang behind the beat, others on top, depending on the situation. The beauty of music is the creation of it. It took me a year to get my Lester console to be in tune with my hands. Then when it is tuned it it sounds unpleasant. Other people are really tuned into 440, though and nothing wrong with that. The thng I find most frightening is the pitch adjuster that is prevalent in today's music. That is IMO more destructive to ears than being off tune. Robotic and mechanical.

GalaxyEyes

OrphanApology
reply to post by C21H30O2I

 

You should buy a piano and sit there and press A and then A#(A sharp/B flat) over and over again.

Then you will understand that both notes are important and that's why they exist on the piano.

The first song starts in A and the second one starts in A sharp/B flat...aka A#

No, you are wrong, sorry.
Both examples start in A#, but the first one is tuned down 8hz. The difference between semitones is approx 26hz, not 8hz. So that means the de-tuning is only 1/3 of a semitone.

And just for those who are interested, it's the third note in the piece which is the 'A' .

An A in 440 compared to A# is not the same as an A in 432 to an A#.

In almost all musical cultures, pitches are named not by their actual frequencies, but as general categories of frequencies in relationship to other frequencies, all a power of 2 apart. For example, A is the name given to the pitch on the piano or clarinet with a frequency of 440 Hz as well as 55 Hz, 110 Hz, 220 Hz, 880 Hz, 1760 Hz, and so on. The important thing is the ratio between the frequencies, not the distance; for example, 55 Hz to 110 Hz is an octave that happens to span 55 Hz, yet 50 Hz to 100 Hz is also an octave, even though it only covers 50 Hz. But if an orchestra tunes to a different A (as most do nowadays, for example, to middle A = 441 Hz or 442 Hz to sound higher and brighter), those frequencies will all change to be multiples/divisors of the new absolute A.

music.columbia.edu...

AK907ICECOLD

I am still trying to understand you logic..Huh

I think you misunderstand because you're missing the irony. It's not logic, it's sarcasm. The smilies kind of give it away too.

Hope that helps.

Mon1k3r

AK907ICECOLD

I am still trying to understand you logic..Huh

I think you misunderstand because you're missing the irony. It's not logic, it's sarcasm. The smilies kind of give it away too.

Hope that helps.

Lately on my posts I guess I'm not.. LOL.
But the stupidity that does exist on ATS, sometimes it hard to tell.
You bother me.....

My bad