As we all know, the 432 scene is a colorful one. Here you can find conspiracy theories and promises of salvation that sometimes make you shudder, sometimes make you laugh.
There are no standards, no scientific research.
Therefore, of course, the fakes flourish.

Why are the fakes spread?
One copies from the other. Everything that appears more frequently on the web seems truer to people.

One wants to make finally advertisement for the own thing, there apparently mad truths make themselves well.

But not only the frequency 432 Hz is affected by fakes, there are also these phenomena with other frequencies.

The most common misconception in the 432 Hz scene:
It is often claimed on the web or in Facebook groups that the tone C1 256 Hz (or 128 Hz) corresponds to the concert pitch A1 432 Hz.

„However, there is the natural concert pitch of C1 (256 Hz), which would correspond to a concert pitch A1 at 432 Hz. „

or

„On the initiative of Giuseppe Verdi, a decree was issued in 1884 requiring Italian military bands to play with tuning pitch small c 128 Hz (corresponding to c ‚ 256 Hz or a ‚ 432 Hz). „

Or
„Joseph Sauveur (1653-1716) and also Ernst Florens Friedrich Chladni (1756-1827) were advocates for a musical base in which the note c1 is at 256 Hz, which corresponds to the concert pitch a1 = 432 Hertz.“

Or
„An English remedial teacher noted that with C 256Hz (= 432Hz for A1) as the initial tone, children could find their way through song melodies without difficulty and return to the initial tone, whereas when A 440 Hz was used, this was not always the case. „

What is that supposed to mean „corresponds to?“

The Duden states:
„therefore, for this reason, therefore, afterwards, thereupon, thereupon, therefore, accordingly, therefore, therefore, accordingly, consequently, hereafter, consequently, insofar, insofar, therefore, thus; (elevated) sonach; (figurative) ergo „

If 256 Hz, then 432 Hz????
256 Hz, therefore 432 Hz???

This if/then relation

• does not exist in equal temperament
• does not exist in the just intonation
  (if 256 Hz is the reference frequency – that’s what it means!)

But there is
in the Pythagorean tuning,
in the Maria Renold tuning
in the pure scale of B
there is a relation between the frequencies 256 Hz and 432 Hz.

It could be correctly said, for example:
The note C1 with the frequency of 256 Hz are in an interval ratio of 27/16 in Pythagorean tuning.
256 times 27 divided by 16 is 432.
This relationship also exists in Maria-Renold tuning.

The claim is:
432 Hz music resonates with the Schumann frequency of 8 Hz.

But the Schumann frequencies are actually in constant flux. The fundamental frequency fluctuates somewhere between 7.3 Hz and 8.4 Hz.
Geomagnetic solar storms, for example, are partly a reason for the flux, which has at least been researched and written about.
This is also why the whole idea of using the fundamental as reference frequencies is kind of silly.

It’s a pseudo-scientific fable in the 432 Hz community, often used as (invalid) confirmation of why 432 Hz should be a better pitch.
Anyway, the whole 8 Hz as fundamental pitch in relation to 432 Hz only work with Pythagorean tuning or a variant of it like Maria Renold 1 tuning and equal temperament.

Besides, 8 Hz or 7.83 Hz is still quite a big difference, and this difference of 0.17 Hz does not lead to a tuning of C4 = 256 Hz, even if one would use the pure tuning or a variant of it, and thus also not in A4 = 432Hz.

Wikipedia

The Solfeggio frequencies do not originate at all, as claimed, from any Gregorian chants of monks.

This research shows that the whole myth is made up.

The Solfeggio frequencies saw the light of day with the book „Healing Codes for the Biological Apocalypse“ by Dr. Joseph Poleo and Dr. Leonard Horowitz.

The physical frequency exists, of course.

Rudolf Steiner has suggested the 432 Hz tuning, so the legend goes.
But even the anthroposophists contradict this claim.

„It is variously reported that the Ziemann-Molitor flutes were built in the tuning A 432 at Rudolf Steiner’s suggestion. This is not true. No discussions concerning music and especially early music education have been held by the Ziemann-Molitor couple with Rudolf Steiner. „

Source: Newsletter of the Section for the Performing Arts, Goetheaneum Dornach – Easter 2011 – Page 72

Rudolf Steiner did not give the pitch information A=432 Hz.

Often the frequency 432 Hz is justified with the planetary oscillations.
The orbits of planets are converted in this conception into frequencies.
Since the frequencies lie far outside of the human hearing ability, they are increased so long by an octave until they are perceptible for the human ear.

Hans Cousto calculated these orbits and converted them into frequencies. Thus he found that the frequency of the oscillation of the earth around the sun within one year (so-called annual tone) corresponds to the frequency of 0.0000000316875412 Hz.
This tone is inaudible of course. If one increases this however in the 32nd octave, the frequency of 136.1 Hz results.

A statements are then for example:

If one increases the 136.1 Hz now in the tone sequence upward to the tone A4 (the concert pitch), results 432 Hz.

or:

And so the earth vibrates in its year tone in the 32nd octave on C sharp – at 136.1 Hz. The year tone of the earth results from the oscillation, which takes the time of a year, thus the duration of a complete journey of the earth around the sun.

If one follows now this fundamental tone in its natural tone sequence upward, one arrives at A1= 432 Hz.

In the equal temperament the tone Cis3 has the frequency of 136.07 Hz.
However, the equal temperament is not a natural tone sequence, but one invented by man.

A natural tone sequence is only a tone sequence which corresponds to the natural tone/overtone series.

The concert pitch A4 = 432 Hz is not based on 136.1 Hz, the frequency of the earth-year.

People like to refer to the historical foundations of 432 Hz.

„However, it is scientifically proven that already the Hebrews, the ancient Egyptians and the Sumerians tuned their instruments according to the concert pitch A1 432 Hz. Pythagoras also used this reference tone, also known as the „Pythagorean sixth.““

An outright lie. There were no tuners at those times. There is not the slightest evidence of an ancient 432 Hz.

In the once again can be read: „Mozart and Verdi, however, insisted that their musical pieces were played in 432 Hz“.
There is no proof.Richard Erlewein claims that a tuning fork with the concert pitch a1 with 421.6 Hz has been preserved by Mozart.
Where is it to be seen? No indication!

Alexander J. Ellis reported in 1880 that a tuning fork tuned to a‘ = 422 Hz was allegedly in the possession of the Augsburg piano maker J. A. Stein. Because the Mozart family particularly valued Stein instruments, this tuning fork is repeatedly mentioned as a probable orchestral tuning in Mozart’s time.

https://www.musiklexikon.ac.at/ml/musik_S/Stimmton.xml

Verdi’s Scientific Pitch, also known as philosophical pitch, Sauveur pitch, or Verdi tuning, is an absolute concert pitch standard based on the middle C (C4) being set at 256 Hz instead of 261.62 Hz, making it about 37.6 cents lower than the usual A440 pitch standard.

Yes, I suppose that’s true, but it has nothing to do with 432 Hz to begin with.
Anyway, none of the claims can come up with evidence, a tuning fork, a historical document, a written admission by Mozart or Verdi.

It takes pythagorean tuning to establish a relationship between 256 Hz and 432 Hz.
Also a scale with the reference frequency of 15 Hz (B) shows 256 Hz and 432 Hz in cosy community.