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. “
“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). “
“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.”
“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.