Various internet trolls will argue, quite violently, that A=432 Hz is a dirty, stinking lie – and that there is no historical record of it ever being… bla, bla, bla.
While we agree that A is not the foundation of resonance (B-flat is), the “A” note, nevertheless, at 432 Hz is the correct frequency – and there is at least one documentation of this which survives to this day.
Gioseffo Zarlino (31 January or 22 March 1517 – 4 February 1590) was the leading music theorist, based in Venice – which was the most powerful European city-state at the time.  One day, at an exhibition of Venetian art in Portland, Oregon – they just happened to be displaying his book Le Istitutioni_Harmoniche, opened to page 104:
Zarlino frequencies
 … which handily lists a bunch of frequencies.
If we take a look at those frequencies and compare them to the frequencies we generated as harmonics from the “magic” frequencies of 5.4 Hz and 7.2 Hz – which I have documented on the home page as exhibiting a strange non-beating effect against a background noise of infrasound which we would otherwise be unaware of – we see a surprising amount of alignment to Zarlino’s scale frequencies from 500 years ago and the frequencies we have generated and found to exhibit a resonance with nature, using modern technology.
Zarlino table.png
  • In the second column, the frequencies in the first column have been divided by 2 a few times to bring them into familiar octaves
  • The third column adds up the digits of each frequency, numerologically and reveals that most of them factor to 9
  • The fourth column indicates (in red) if these frequencies exactly match the harmonic frequency for that note as we determined from our magic base frequencies of 5.4 Hz and 7.2 Hz – and indicates in black if they are close matches
  • The last column highlights in red where Zarlino’s frequencies match the frequency of that note if it is determined via a different harmonic approach than the one we chose
    • Being as Zarlino was an intelligent fellow, we’ll keep track of these frequencies in case they are useful when it comes to the practicalities of building a Just Intonation musical instrument

To summarize the findings – of the eight notes that Zarlino lists, A, B, C, C#, D, E, F#, G:

  • His frequency exactly matches the A, B, D, E frequencies we worked out from the phenomena of natural resonance.
  • And we exactly match C#, F#, G if we calculate these harmonics still starting from B-flat, but using an alternative harmonic of harmonics
  • The only one that’s a miss is C  – probably because he perhaps wanted to take the simplistic approach that 1 x 2 = 2, 2 x 2 = 4, 4 x 2 = 8, 8 x 2 = 16, 16 x 2 = 32,
    32 x 2 = 64, 64 x 2 = 128, and 128 x 2 = 256.  In other words, for this one note, he seems to have determined this note mathematically – (and perhaps this is the correct frequency.  We’ll keep that one in our hat, also)

I’m not going to argue with Zarlino on the correct way to determine the harmonic frequencies – what is significant here is that we came up with a bunch of musical frequencies based on a chance encounter with vibration in a Johannesburg hotel room – and those frequencies, one way or another, also match what Zarlino recorded in his book published in 1558.

How is this possible?  Well, first of all, Zarlino was an early advocate in Western culture for Just Intonation.  Secondly, he must have started with the same frequencies as I did in order to calculate his just, harmonic series; either that, or the frequencies were passed down to him from some earlier culture.  I will have to read his book in old Italian to find out.

Just another confirmation from history that we are on the right track with these frequencies – and good to point out to the internet trolls (professional or otherwise) that arguing that something is “wrong” because it contradicts received knowledge that you’ve never bothered to question, is illogical and lazy. In other words, you can’t prove that something doesn’t exist just because you haven’t bothered to find the evidence of it. We have, and it does!

News about B-flat creating waves “hovering above your head”

Here’s a podcast about Glenway Fripp’s discovery of standing waves that seem to miraculously form in certain places when a B-flat note is played, sung or, in this case – whistled:

And a snippet more about him from NPR:

Closer to home, a friend of mine was telling me a few years ago about an experience he had while jamming where a note that the band  was playing seemed to just hang above his head – floating there.  They all took it in turn to move into that part of the room while playing the note, and they all experienced it, seemingly dwelling above their heads – taking on a life of its own – like some sort of zero-point energy source.

My friend says he has a recording of that, too.  It will be interesting if he can dig it out.

New Guitar Tuning

Re-posting this to my blog – here’s my new baritone guitar tuning:
B-flat : tonic
E-flat : 4th
G : 6th
C : 2nd (minor mode starts here)
F : 5th (dorian blues starts here)
B-flat : octave
Low to high.
All the notes are harmonics of B-flat, which I consider to be the universal, foundational frequency.
This is a baritone guitar – so two inches longer than regular, and the bass string is like a 0.68″ or something ridiculous.
Meanwhile, on a non-baritone guitar – like my acoustic, I tune the same intervals, but starting here.  Thats:
Eb : 4th of B-flat (76.8 Hz)
Ab : 7th of B-flat (100.8 Hz)
C : 2nd of B-flat (129.6 Hz)
F : 5th of B-flat (yer blues, dorian) (172.8 Hz)
Bb : tonic (230.4 Hz)
Eb : 4th  if B-flat again (307.2 Hz)
And using a capo, these intervals move to other parts of the mode. e.g. the above tuning on a regular guitar, with the capo on the second fret makes your harmonic tuning be:
5th harmonic (F)
Tonic (Bb)
3rd harmonic (D )
6th harmonic (G)
2nd harmonic (C – minor mode)
5th harmonic – octave (F – for dorian mode)
So, having the open notes all being harmonics of the fundamental tonic of B-flat – you’re always ringing out something harmonic and beautiful, but, unlike my old open tuning, everything is essentially a 4th apart – except the interval from the 5th string to the 4th string – which is a major third. So, it’s easy to play, like regular “concert” tuning, but it’s all harmonically related.
That big 5th interval gap between the 6th string and 5th string in my old “open” tuning really became quite limiting – as well as the fact that everything was either the tonic, the 5th or the 3rd. So, great for knocking out power chords, but a bit limiting musically.
With this new tuning, I find jazzy 40s songs, Beatles, classical and interesting modal stuff just rings out.

Indian notes

Saw this on pg 203 of the World Is Sound (Nada Brahma) by Joachim-Ernst Berendt:

First note: SA – the soul
Second note: RI – the head (consciousness)
Third note: GA – arms
Fourth note: MA – chest (heart)
Fifth note: PA  – neck
Sixth note: DHA – hip
Seventh note: NI – feet

Interesting that under hypno, I had intuited that the first (B flat) is soul and the second (C) is consciousness.  Can’t say I was thinking about arms and legs for the rest of them – but interesting coincidence, which reinforces the notion of B-flat and C being the first two notes of nature’s scale.

I recommend the book too: