Overtone partials of A = 432Hz 12T5 appear to line up to natural patterns and also the resonance of solitons. Can the current international concert pitch of music somehow be improved to create a more resonant and pleasant positive experience for both the musician and the listener? Can that change be more resonant based on observations of geometry and mathematical patterns found in nature?
To answer these important questions we first must look at natural design and how we can apply that to music. Our inner ear for example works on the basis of Phi dampening. The waters of our inner ears rely on Fibonacci spiral dampening through the seashell like structure of the cochlea to keep us feeling balanced, centred or grounded. This Fibonacci spiral shape helps cancel out certain inertial standing wave interference patterns just like a Helmholtz resonator in order to keep us properly balanced with the natural environment around us. When the inner ear is in stress we can experience a type of “fog like” condition or feel “spaced out”.
A Short History of Tuning and Temperament, Chas Stoddard
DNA & PHI
The natural Phi spiral shape of the cochlea can be found planet wide in a majority natural organic based life. DNA in its measurements of 21 by 34 angstroms suggests golden mean or Fibonacci structure. DNA can oscillate to protect itself from dissonant interference patterns of mechanical and electromagnetic waves. I propose that equal temperament and tunings of higher pitch may possibly effect DNA as DNA resonates the language of music and not syntax binary. More study needs to be done in this area by academic and independent researchers as according to Bruce Lipton, the biological functions of DNA can be affected in positive or negative ways.
According to the Scottish composer Stuart Mitchell DNA is a cosmic musical score operating triplets of rhythm at over 3000 beats per minute. Truly all frequencies affect DNA and consciousness and DNA responds to the environment both local and non-local. No one frequency can be claimed be a magic one and only healing frequency, as we exist as an infinite universal medium of dimension.
The “New Age” terms of 3D 4D 5D is completely a misnomer of true multi-dimension. Changing frequency may also change the electric potential of the brain which may alter and affect memory and perception by the slight change and diamagnetic charge within the water in our cells. This is perhaps a speculation of why A = 440Hz ET and higher concert pitches can be perceived as a brighter, thinner, outward of the head, whereas concert pitch at A = 432Hz 12T5 or C=256Hz can be perceived as an inward experience of feeling. Our heart has more morphogenetic fields than the brain and is one of the first things to form in the womb, beating out the soliton pulse of cosmic musical DNA. We feel our emotional bodies from the heart and our solar plexus is the nerve cluster that senses those feelings like a microphone or transducer.
From my own observations, some of the harmonic overtone partials of A = 432hz 12T5 appear to line up to natural patterns and also the resonance of solitons. Solitons need a specific range to form into the realm of density and span from the micro to the macro cosmos. Solitons are not only found in water mechanics, but also in the spiral ion-acoustic breath between quarks and protons. The universe depends on the existence of solitons and without them vortex motion would not form.
432Hz/256Hz Twelve True Fifths tuning
Maria Renold’s book “Intervals Scales Tones and the Concert Pitch C = 128hz” claims conclusive evidence that 440Hz and raising concert pitch above scientific “C” Prime = 128hz (Concert A = 432hz) disassociates the connection of consciousness to the body and creates anti-social conditions in humanity.
Some audiophiles have also reported that A = 432Hz music seems to be non local and can appear to fill a room, whereas A = 440Hz can perceived as directional or linear in sound propagation.
Raising concert pitch may cause stress or warping of acoustic instruments and may seriously damage a singers vocal chords according to some professional opera singers. Maria Renold’s book is a wealth of information on not only A = 432Hz, “C” prime 256Hz and 128Hz, but also a new way to tune instruments to A = 432Hz which is the Twelve True Fifths tuning method (12T5).
This harmonic alternative allows scientific “C” prime 256Hz to align with A = 432Hz whereas other harmonic intonations do not.
This method is superior to modern Equal Temperament which is the closed circle of tuning that we are constrained to as musicians. Equal Temperament (ET) was the excuse for musicians to play consonance, but it actually closes out perceptions to the sensations of tone and resonant harmony.
If we examine the 20th century collective consciousness and the use of A = 440Hz with equal temperament in mass media pushed through radio & television as the “British Invasion” of Rock & Roll, we see the potential anti-social behaviours and possible dangers of using higher and higher pitches as central references for music although this author does not believe that the use of 440Hz was a conspiracy and instead more about ignorance by standards committee who were not briefed properly on frequency research.
It is for this very reason that “Just” intonation is making a comeback with some composers and after the constrained compromise of equal temperament since the 1850s onwards, people are seeking purer alternatives to the harmonic intonations of tunings and “Just” and meantone offers a number of more natural harmonics than the artificial closed circle compromise of equal temperament.