|28-04-2011, 06:29 PM||#1|
Join Date: Jul 2009
Likes: 0 (0 Posts)
The real frequency of A is 396
Well that means that b is 417hz, and A is 396.
Thus all tuners should be set to A 396, NOT 440 or 432.
One tuner that works for this (there are very few) is AP TUNER.
The demo works fine.
I noticed that once I tuned my instruments to A396, suddenly I could play along to jimmy hendrix, original beatles records (not CDs, the tuning is changed in them) and exactly to my own voice.
They are hiding the real tuning of A so that they can select whose music sounds good, this also explains why all modern music sounds awful, because nobody tunes by their voice anymore, it's all tuned far far away from the human voice.
|28-04-2011, 06:34 PM||#2|
Join Date: Dec 2010
Likes: 0 (0 Posts)
see also this post:
The Conspiracy Extends to the Musical Scale !!!
Read the article: HERE (www.HumansAreFree.com)
“This unnatural standard tuning frequency (440 hz), removed from the symmetry of sacred vibrations and overtones, has declared war on the subconscious mind of Western Man.” by L. C. Vincent (for henrymakow.com)
Vibration throughout the frequency spectrum of sound, heat, and light, is the organizational principle of matter. Sound is the organizational principle of our Universe, of physical matter and most importantly, living matter.
The science of Cymatics illustrates that when sound waves move thru a physical medium (air, water, sand, metallic particles, etc.) the frequency of the waves has a direct effect upon the structures which are created by the sound waves as they pass thru that particular medium. YouTube videos show these fascinating patterns and arrangements here: (CLICK HERE)!
HAARP UK: Capel Dewi, UK 52.424517, -4.005442 http://forum.davidicke.com/showpost....9&postcount=34
Every facet of mind control that can be exerted through the mass media is exerted by the mass media. http://www.veteranstoday.com/2011/05...t-of-info-war/
|28-04-2011, 06:50 PM||#3|
Join Date: Jan 2007
Likes: 2 (2 Posts)
To be on common ground it may be good idea to call for The amount of deviance in between the two tones 440 and 432 Hz is about one third of a semitone. Christopher informs us that it is about 1,8% which is correct as semitone step is a little less than 6%, but in music theoretic terms it would be more correct to express it in the cent system where the semitone value is 100 cent (the octave = 1200 cent). So we are talking about a microtonal difference of 31.8 cent (log(440/432)x1200/log2). Since this is a forum for overtone entusiasts it should cast some light also to mention that 54:55 is the proportion in question. The Pythgorean comma is close to 74:73.
Pythagorean tuning may be used for dronal and modal music but as soon as you move in to the field of polyphony and chord based music (roughly speaking the last 500 years of west european music) it cannot be used because of the bad dissonances in between some of the chords - which is due to the mechanism behind the above mentioned Pythagorean comma - 12 perfect fifths in succession (Pythagorean tuning) deviates from 7 octaves from the same basis with this value.
2^7 ~ (3/2)^12.
This disturbance of course occurs due to beating notes, so even though the Pythagorean comma is smaller than the concert pitch deviation, you have to consider that there is a difference in circumstance because there are other tones activated for reference. So 55:54 is not a very drastic deviance when dealing with a fixed point for concert pitch but would be a terrible dissonance to deal with inside a tonal system- as you can read in the Wiki-article history has seen much bigger differences in concert pitch definition.
Personally I prefer to use c'=256 Hz, but that is more from a philosophical point of view as this is eight octaves above the time unit 1 second. But like Marco points out you may question whether a time unit which is defined as 1/24x60x60 of a day has a very strong foundation.
On a more practical level just tuning is not very suitable for polyphonic music as the chords become to diverse - they tend to contain many different intervals.
One thing you may say about Pythagorean tuning is that it has two and only two semitone intervals.http://www.overtone.cc/forum/topics/...age=1#comments
|28-04-2011, 07:05 PM||#4|
Join Date: Jan 2007
Likes: 2 (2 Posts)
Don't fall for the 432 hz 440 hz is a conspiracy nonsense. Read through this
The A above is often set at although other frequencies are also used, such as 442 Hz and 443 Hz. Historically, this A has been tuned to a variety of higher and lower pitches.
Concert pitch refers to the to which a group of are tuned for a performance. Concert pitch may vary from ensemble to ensemble, and has varied widely over musical history. This is also referred to as the reference frequency for "A" in an orchestra, the term "concert pitch" being used to indicate the difference between "written" and "sounding" notes in scores.
To avoid ambiguity when referring to pitches on , the term concert pitch is here used to refer to the pitch on a non-transposing instrument. In the literature this is also called international standard pitch. Music for transposing instruments is transposed into different from non-transposing instruments—for example, playing a written C on a B♭ or produces a non-transposing instrument's B♭. This pitch is referred to as "concert B♭".
Historically, various standards have been used to fix the pitch of notes at certain frequencies. Various systems of have also been used to determine the relative frequency of notes in a scale.
 Pre-19th century
Until the 19th century there was no concerted effort to standardize 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 in the same city.
Even within one church, the pitch used could vary over time because of the way were tuned. Generally, the end of an organ pipe would be hammered inwards to a cone, or flared outwards, to raise or lower the pitch. When the pipe ends became frayed by this constant process they were all trimmed down, thus raising the overall pitch of the organ.
Some idea of the variance in pitches can be gained by examining old , organ pipes and other sources. For example, an pitchpipe from 1720 plays the A above middle C at 380 Hz, (info) while the played by in , and Weimar were pitched at A = 480 Hz, (info) a difference of around four . 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.
From the early 18th century, pitch could be also controlled with the use of (invented in 1711), although again there was variation. For example, a tuning fork associated with , dating from 1740, is pitched at A = 422.5 Hz, (info) while a later one from 1780 is pitched at A = 409 Hz, (info) almost a semitone lower. Nonetheless, there was a tendency towards the end of the 18th century for the frequency of the A above middle C to be in the range of 400 (info) to 450 Hz. (info)
The frequencies quoted here are based on modern measurements and would not have been precisely known to musicians of the day. Although had made a rough determination of sound frequencies as early as the 17th century, such measurements did not become scientifically accurate until the 19th century, beginning with the work of German physicist in the 1830s.
During historical periods when instrumental music rose in prominence (relative to the voice), there was a continuous tendency for pitch levels to rise. This "pitch inflation" seemed largely a product of instrumentalists' competing with each other, each attempting to produce a brighter, more "brilliant", sound than that of their rivals.
(In string instruments, this is not all acoustic illusion: when tuned up, they actually sound objectively brighter because the higher string tension results in larger amplitudes for the harmonics.) This tendency was also prevalent with wind instrument manufacturers, who crafted their instruments to play generally at a higher pitch than those made by the same craftsmen years earlier.
On at least two occasions, pitch inflation had become so severe that reform became needed.
At the beginning of the 17th century, reported in his encyclopedic Syntagma musicum that pitch levels had become so high that singers were experiencing severe throat strain and lutenists and viol players were complaining of snapped strings.
The standard voice ranges he cites show that the pitch level of his time, at least in the part of Germany where he lived, was at least a minor third higher than today's.
Solutions to this problem were sporadic and local, but generally involved the establishment of separate standards for voice and organ ("Chorton") and for chamber ensembles ("Kammerton"). Where the two were combined, as for example in a , the singers and instrumentalists might perform from music written in different keys. This system kept pitch inflation at bay for some two centuries.
The advent of the as an independent (as opposed to accompanying) ensemble brought pitch inflation to the fore again.
The rise in pitch at this time can be seen reflected in tuning forks. An 1815 tuning fork from the Dresden opera house gives A = 423.2 Hz (info), while one of eleven years later from the same opera house gives A = 435 Hz (info). At in , the A above middle C rose as high as 451 Hz (info).
 19th and 20th century standards
The most vocal opponents of the upward tendency in pitch were singers, who complained that it was putting a strain on their voices. Largely due to their protests, the government passed a law on February 16, 1859 which set the A above middle C at 435 Hz. This was the first attempt to standardize pitch on such a scale, and was known as the diapason normal. It became quite a popular pitch standard outside France as well, and has also been known at various times as French pitch, continental pitch or international pitch (the last of these not to be confused with the 1939 "international standard pitch" described below).
The diapason normal resulted in being tuned at approximately 258.65 Hz (info). An alternative pitch standard known as philosophical or scientific pitch, fixed middle C at 256 Hz (info) (that is, 28 Hz), which resulted in the A above it being approximately 430.54 Hz (info). The appeal of this system was its mathematical idealism (the frequencies of all the Cs being ). This system never received the same official recognition as A = 435 Hz and was not widely used.
British attempts at standardisation in the 19th century gave rise to the old philharmonic pitch standard of about A = 452 Hz (different sources quote slightly different values), replaced in 1896 by the considerably "deflated" new philharmonic pitch at A = 439 Hz. The high pitch was maintained by Sir for the Festivals, causing the withdrawal of the principal tenor in 1877, though at singers' insistence the Festival pitch was lowered (and the organ retuned) at that time. At the in London, the establishment of the diapason normal for the in 1895 (and retuning of the organ to A = 439 at 15 ° (59 °), to be in tune with A = 435.5 in a heated hall) caused the and others (including the Bach Choir, and the and concerts) to adopt the continental pitch thereafter.
In 1939, an international conference recommended that the A above middle C be tuned to 440 Hz, now known as concert pitch. This standard was taken up by the in 1955 and reaffirmed by them in 1975 as ISO 16. The difference between this and the diapason normal is due to confusion over the temperature at which the French standard should be measured. The initial standard was A = 439 Hz (info), but this was superseded by A = 440 Hz after complaints that 439 Hz was difficult to reproduce in a laboratory owing to 439 being a .
Despite such confusion, A = 440 Hz is the only official standard and is widely used around the world. Many orchestras in the adhere to this standard as concert pitch. In the some orchestras use A = 440 Hz, while others, such as and the , use A = 442 Hz. Nearly all modern symphony orchestras in and and many in other countries in (such as , and ) play with tune to A = 443 Hz. A = 442 Hz is also often used as tuning frequency in Europe, especially in , , , , and .
In practice the orchestras tune to a note given out by the , and many oboists use an electronic tuning device. When playing with fixed-pitch instruments such as the piano, the orchestra will generally tune to them—a piano will normally have been tuned to the orchestra's normal pitch. Overall, it is thought that the general trend since the middle of the 20th century has been for standard pitch to rise, though it has been rising far more slowly than it has in the past. Some orchestras like the now use a slightly lower pitch (443 Hz) than their highest previous standard (445 Hz).
Many modern ensembles which specialize in the performance of have agreed on a standard of A = 415 Hz. An exact equal-tempered semitone lower than A = 440 would be 440/21/12 = 415.3047 Hz; this is rounded to the nearest integer. In principle this allows for playing along with modern fixed-pitch instruments if their parts are transposed down a semitone. It is, however, common performance practice, especially in the German Baroque idiom, to tune certain works to Chorton, approximately a semitone higher than A-440 (460–470 Hz) (e.g., Pre-Leipzig period cantatas of Bach).