Backstage

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## Solfeggio Frequencies are simply Frequencies of a Multiple of 3 Hz.

3 Hz x 1, 3 Hz x 3, 3 Hz x 5, 3 x 7, 3 x 9, 3 x 11, 3 x 13, etc.

**SOLFEGGIO= 3 times XX= an odd integer natural number**

All solfeggio frequencies always result in a 3, a 6 or a 9 in the cross sum.

Example: 528 Hz – 5+2+8=15 – 1+5=6

3,6,9 have the relation: 3+3=6 – 3+3+3=9**3 is therefore the base for 6 and 9.****EXAMPLE3 Hz x 11 = 33 Hz – first octave 33 Hz x 2 = 66 Hz – second octave 132 Hz, third octave 264 Hz, fourth octave 528 Hz.**

The term Solfeggio is invented and has no meaning and no relation to the reality of the frequencies.

The effect felt by users is always based only on the effect of 3 Hz.

Our Solfeggio titles are all played in Natural Tuning. They are simply called Solfeggio because the name has become so established on the internet.

In reality they are the frequencies of the trinity.

## Definition of the Solfeggio Frequencies

An important criterion in the definition of the Solfeggio frequencies is that all their base values and octave values in the Theosophical reduction, always result in the “Digital Root” (transverse sums) 3, 6 or 9, known by Tesla.

In his works, Nikola Tesla repeatedly pointed out the importance of these three numbers as basic indexes of the Divine and the creative power. He also pointed to the energetic order relations of our physically describable world.

Concerning the designations of the frequencies I must point out that they are not authentic designations, but have found their way into the world of frequencies by Dr. Leonard Horowitz. However, they have developed since the year 1999 to an own reality independently of Mr. Horowitz.

And here comes an important fact right away:

Why is the frequency 336 HZ not a solfeggio frequency? Or have I now also discovered one?

I quote from the Bach Flower Portal:

*“According to the documents presented in “Healing Codes for the Biological Apocalypse,” Dr. Joseph Puleo learned about the Pythagorean method of numerical reduction and discovered the pattern of six repeating codes.The Pythagorean method is a simple reduction method that converts large numbers into single digits by adding the values of all the digits in the number. If after the first addition the number still contains more than one digit, the process is repeated, e.g. 456 can be reduced to 4 + 5 + 6 = 15 and then reduced to 1 + 5 = 6. Thus, the number 456 eventually reduces to the single digit 6. Following this pattern, Puleo discovered that the Solfeggio frequencies are based on this mathematical reduction and can all be reduced to the transverse sums 3, 6, and 9….”*

This is also the case with the frequency 336 HZ (21 HZ). Or what about the frequency 504 HZ (63 HZ)? Or the frequency 648 HZ (81)? No Solfeggios? Did Puleo miss that?

Find new solfeggio frequencies yourself and try the effect!

The principle is simple: you must always think in terms of reference frequencies. Go through all the odd, whole, natural numbers. If you come across a number that adds up to 3 or 6 or 9, you have found a solfeggio frequency! 111 HZ is a nice solfeggio frequency after all.

## UT queant laxis….

UT queant laxis – 396 Hz – digit sum 9 | 396 Hz – Liberating Guilt and Fear |

REsonare fibris – 417 Hz – digit sum 3 | 417 Hz – Undoing Situations and Facilitating Change |

MIra gestorum – 528 Hz – digit sum 6 | 528 Hz – Transformation and Miracles (DNA Repair) |

FAmuli tuorum – 639 Hz – digit sum 9 | 639 Hz – Connecting/Relationships |

SOLlve polluti – 741 Hz – digit sum 3 | 741 Hz – Intuition Activation |

LAbii reatum – 852 Hz – digit sum 6 | 852 Hz – Returning to Spiritual Order |

396 Hz | 417 Hz |

Frequencies of the octaves – digit sum 0,7734375 – 9 1,546875 – 9 3,09375 – 9 6,1875 – 9 12,375 – 9 24,75 – 9 49,5 – 9 99 – 9 198 – 9 396 Hz – 9792 – 91584 – 9 3168 – 9 6336 – 9 12672 – 9 25344 -9 50688 – 9 101376 – 9 202752 – 9 | Frequencies of the octaves – digit sum 0,814453125 – 6 1,62890625 – 3 3,2578125 – 6 6,515625 – 3 13,03125 – 6 26,0625 – 3 52,125 – 6 104,25 – 3 208,5 – 6 417 – 3834 – 6 1668 – 3 3336 – 6 6672 – 3 13344 – 6 26688 – 3 53376 – 6 106752 – 3 213504 – 6 |

528 Hz | 639 Hz |

1,03125 – 3 2,0625 – 6 4,125 – 3 8,25 -6 16,5 – 3 33 – 6 66 – 3 132 – 6 264 – 3 528 – 61056 – 3 2112 – 6 4224 – 3 8448 – 6 16896 – 3 50688 – 9 101376 – 9 202752 – 9 405504 – 9 811008 – 9 | 1,248046875 – 9 2,49609375 – 9 4,9921875 – 9 9,984375 – 9 19,96875 – 9 39,9375 – 9 79,875 – 9 159,75 – 9 319,5 – 9 1278 – 9639 – 9 2556 – 9 5112 – 9 10224 – 9 40896 – 9 81792 – 9 163584 -9 327168 – 9 654336 -9 |

741 Hz | 852 Hz |

1,447265625 – 6 2,89453125 – 3 5,7890625 – 6 11,578125 – 3 23,15625 – 6 46,3125 – 3 92,625 – 6 185,25 – 370,5 – 6 741 – 31482 – 6 2964 – 3 5928 – 6 11856 – 3 23712 – 6 47424 – 3 94848 – 6 189696 – 3 3379392 – 6 | 1,6640625 – 3 3,328125 – 6 6,65625 – 3 13,3125 – 6 26,625 – 3 53,25 – 6 106,5 – 3 213 – 6 426 – 3 852 – 61704 – 3 3408 – 6 6816 – 3 13632 – 6 27264 – 3 54528 – 6 109056 – 3 218112 – 6 436224 – 3 |

Everything is exciting, but who discovered the frequencies? You can’t invent frequencies, only the stories around them, you can invent him.

## Solfeggio – The Fake Term

**Earliest mention of the term “solfeggio**

Helmholtz, an ardent advocate of just intonation, in his doctrine of tone sensations as a physiological basis for the theory of music, also reported on the “Society of Solfeggists,” which by 1862 already had 150,000 members. This society used the tonic-sol-fa method and consequently instead of notation a syllabic notation (Do Re Mi Fa So La Ti Do), where Do always denoted the tonic. When modulation changed the tonic, the syllabic designation also changed; the note on which the change occurred was given two syllables, that of the first key and that of the second. The intonation was always in relation to the tonic. When changing from C major to G major, for example, the A of G major was intonated purely to the tonic G, i.e., one syntonic comma higher compared to C major.

Helmholtz heard 40 children between the ages of eight and twelve in a London elementary school whose purity of intonation astonished him. He pointed out that the London schools and solfeggists give an annual concert of 2,000 to 3,000 children’s voices in the Crystal Palace at Sydenham, which makes the best impression on listeners by euphony and accuracy of execution.

So this has nothing at all to do with the later Horowitz-Solfeggio frequencies. There Dr. Horowitz has probably helped himself with the designation.

## A medieval scale?

Solfeggio frequencies in legend are apparently a series of sine tones to which certain effects are attributed on a more or less esoteric basis. They are supposedly based in their origins on a medieval scale taught by Guido of Arezzo (992-1050) with the help of St. John’s Hymn.

The initial syllables of the lines of the Hymn of St. John were sung in these tones, thus giving them their name.

Today’s scale is derived from these tones, but the frequency of the ancient tones is unknown (or the means of tuning the tones were much less accurate than today), which is why followers of solfeggio frequencies usually assume different frequencies than those of today’s scale.

So the origin of the syllables of the solfeggio frequencies we have found. St. John hymn

But also here no connection with a pitch of the Hororwitz frequencies.

## The church knew?

Allegedly, even the early Catholic Church knew about the solfeggio frequencies and their effects, and used them in the composition of numerous chorales, such as the Gregorian chants of monks. See Guido of Arezzo for more information.

However, since these special frequencies have a mind-expanding effect for the listener (and also for the singers or musicians), the Vatican very soon saw in these frequencies a danger for the ecclesiastical power structure and imposed a ban on the Solfeggio frequencies. Thereupon these special frequencies fell into oblivion for several centuries.

The church knows nothing about it, a pure invention.

## DNA?

Allegedly, microbiological research confirms the potencies of the Solfeggio frequency values. 528 Hz (transformation) would be used for example in modern molecular biology as repair frequency for damaged DNA strands ( A. Davidson: The Royal R. Rife Report, Borderline Sciences 1988 and the book of Dr. Joseph Poleo and Dr. Leonard Horowitz: Healing Codes for the Biological Apocalypse).

So we have already found a reliable source for the myth. Horowitz himself is it!

## Conclusion

A Google search about the origin, meaning and effect of the solfeggio frequencies always leads to the same results with similar texts. One quickly notices that everyone has copied from somewhere. The real source remains in the dark.

Even if the Solfeggio frequencies have nothing at all to do with Gregorian chants, the pure mathematical consideration is amazing.

By the publication of the discovery and the naming a quasi-standard has been created, which has become a myth today with the help of the Google search engine.

Only one conclusion is obvious. 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 term Solfeggio and the names of the individual frequencies have nothing to do with the frequencies as a natural phenomenon and their effect.

## For deepening

I recommend the website (English) of Roel Hollander. It goes into depth and is excellent for the studuim of the Solfeggio fake.

https://roelhollander.eu/en/tuning-frequency/ancient-solfeggio-frequencies/

## Solfeggio Scales

The Solfeggio scales are in pure intonation.

### 396 Hz

UT queant laxis – Quersumme 9

Bezugsfrequenz = 99 Hz

Tone | Frequency Hz | Interval reference | Ratio | Interval |
---|---|---|---|---|

C0 (UT0) | 24,75 | UT1 24,75 Hz | 1/1 | prime |

C1 (UT1) | 49,5 | UT1 49,5 Hz | 1/1 | prime |

Db1 | 52,8 | UT1 49,5 Hz | 16/15 | minor second |

D1 | 55,69 | UT1 49,5 Hz | 9/8 | major second |

ES1 | 59,4 | UT1 49,5 Hz | 6/5 | minor third |

E1 | 61,88 | UT1 49,5 Hz | 5/4 | major third |

F1 | 66 | UT1 49,5 Hz | 4/3 | perfect fourth |

Gb1 | 69,61 | UT1 49,5 Hz | 45/32 | augmented fourth |

G1 | 74,25 | UT1 49,5 Hz | 3/2 | perfect fifth |

Ab1 | 79,25 | UT1 49,5 Hz | 8/5 | minor sixth |

A1 | 82,50 | UT1 49,5 Hz | 5/3 | major sixth |

Bb1 | 89,1 | UT1 49,5 Hz | 9/5 | minor seventh |

B1 | 92,81 | UT1 49,5 Hz | 15/8 | major seventh |

C2 (UT2) | 99 | UT2 99 Hz | 1/1 | prime |

Db2 | 105,6 | UT2 99 Hz | 16/15 | minor second |

D2 | 111,38 | UT2 99 Hz | 9/8 | major second |

ES2 | 118,8 | UT2 99 Hz | 6/5 | minor third |

E2 | 123,75 | UT2 99 Hz | 5/4 | major third |

F2 | 132 | UT2 99 Hz | 4/3 | perfect fourth |

Gb2 | 139,22 | UT2 99 Hz | 45/32 | augmented fourth |

G2 | 148,5 | UT2 99 Hz | 3/2 | perfect fifth |

Ab2 | 158,4 | UT2 99 Hz | 8/5 | minor sixth |

A2 | 165 | UT2 99 Hz | 5/3 | major sixth |

Bb2 | 178,2 | UT2 99 Hz | 9/5 | minor seventh |

B2 | 185,63 | UT2 99 Hz | 15/8 | major seventh |

C3 (UT3) | 198 | UT3 198 Hz | 1/1 | prime |

Db3 | 211,2 | UT3 198 Hz | 16/15 | minor second |

D3 | 222,75 | UT3 198 Hz | 9/8 | major second |

ES3 | 237,6 | UT3 198 Hz | 6/5 | minor third |

E3 | 247,5 | UT3 198 Hz | 5/4 | major third |

F3 | 264 | UT3 198 Hz | 4/3 | perfect fourth |

Gb3 | 278,44 | UT3 198 Hz | 45/32 | augmented fourth |

G3 | 297 | UT3 198 Hz | 3/2 | perfect fifth |

Ab3 | 316,8 | UT3 198 Hz | 8/5 | minor sixth |

A3 | 330 | UT3 198 Hz | 5/3 | major sixth |

Bb3 | 356,4 | UT3 198 Hz | 9/5 | minor seventh |

B3 | 371,25 | UT3 198 Hz | 15/8 | major seventh |

C4 (UT4) | 396 | UT4 396 Hz | 1/1 | prime |

Db4 | 422,40 | UT4 396 Hz | 16/15 | minor second |

D4 | 445,5 | UT4 396 Hz | 9/8 | major second |

ES4 | 475,2 | UT4 396 Hz | 6/5 | minor third |

E4 | 495 | UT4 396 Hz | 5/4 | major third |

F4 | 528 | UT4 396 Hz | 4/3 | perfect fourth |

Gb4 | 556,88 | UT4 396 Hz | 45/32 | augmented fourth |

G4 | 594 | UT4 396 Hz | 3/2 | perfect fifth |

Ab4 | 633,6 | UT4 396 Hz | 8/5 | minor sixth |

A4 | 660 | UT4 396 Hz | 5/3 | major sixth |

Bb4 | 712,8 | UT4 396 Hz | 9/5 | minor seventh |

B4 | 742,5 | UT4 396 Hz | 15/8 | major seventh |

C5 (UT5) | 792 | UT5 792 Hz | 1/1 | prime |

Db5 | 844,80 | UT5 792 Hz | 16/15 | minor second |

D5 | 891 | UT5 792 Hz | 9/8 | major second |

ES5 | 950,4 | UT5 792 Hz | 6/5 | minor third |

E5 | 990 | UT5 792 Hz | 5/4 | major third |

F5 | 1056 | UT5 792 Hz | 4/3 | perfect fourth |

Gb5 | 113,75 | UT5 792 Hz | 45/32 | augmented fourth |

G5 | 1188 | UT5 792 Hz | 3/2 | perfect fifth |

Ab5 | 1267,2 | UT5 792 Hz | 8/5 | minor sixth |

A5 | 1320 | UT5 792 Hz | 5/3 | major sixth |

Bb5 | 1425,6 | UT5 792 Hz | 9/5 | minor seventh |

B5 | 1485 | UT5 792 Hz | 15/8 | major seventh |

C6 (UT6) | 1584 | UT6 1584 Hz | 1/1 | prime |

Db6 | 1689,6 | UT6 1584 Hz | 16/15 | minor second |

D6 | 1782 | UT6 1584 Hz | 9/8 | major second |

ES6 | 1900,8 | UT6 1584 Hz | 6/5 | minor third |

E6 | 1980 | UT6 1584 Hz | 5/4 | major third |

F6 | 2112 | UT6 1584 Hz | 4/3 | perfect fourth |

Gb6 | 227,5 | UT6 1584 Hz | 45/32 | augmented fourth |

G6 | 2376 | UT6 1584 Hz | 3/2 | perfect fifth |

Ab6 | 2534,4 | UT6 1584 Hz | 8/5 | minor sixth |

A6 | 2640 | UT6 1584 Hz | 5/3 | major sixth |

Bb6 | 2851,2 | UT6 1584 Hz | 9/5 | minor seventh |

B6 | 2970 | UT6 1584 Hz | 15/8 | major seventh |

C7 (UT7) | 3168 | UT7 3168 Hz | 1/1 | prime |

Db7 | 3379,2 | UT7 3168 Hz | 16/15 | minor second |

D7 | 3564 | UT7 3168 Hz | 9/8 | major second |

ES7 | 3801,6 | UT7 3168 Hz | 6/5 | minor third |

E7 | 3960 | UT7 3168 Hz | 5/4 | major third |

F7 | 4224 | UT7 3168 Hz | 4/3 | perfect fourth |

Gb7 | 4455 | UT7 3168 Hz | 45/32 | augmented fourth |

G7 | 4752 | UT7 3168 Hz | 3/2 | perfect fifth |

Ab7 | 5068,8 | UT7 3168 Hz | 8/5 | minor sixth |

A7 | 5280 | UT7 3168 Hz | 5/3 | major sixth |

Bb7 | 5702,4 | UT7 3168 Hz | 9/5 | minor seventh |

B7 | 5940 | UT7 3168 Hz | 15/8 | major seventh |

C8 (UT8) | 6636 | UT8 6636 Hz | 1/1 | prime |

### 417 Hz

REsonare fibris – Quersumme 3

Bezugsfrequenz = 417 Hz

Tone | Frequency Hz | Interval reference | Ratio | Interval |
---|---|---|---|---|

C1 (RE1) | 52,125 | RE1 52,125 Hz | 1/1 | prime |

Db1 | 55,6 | RE1 52,125 Hz | 16/15 | minor second |

D1 | 58,641 | RE1 52,125 Hz | 9/8 | major second |

ES1 | 62,550 | RE1 52,125 Hz | 6/5 | minor third |

E1 | 65,156 | RE1 52,125 Hz | 5/4 | major third |

F1 | 69,5 | RE1 52,125 Hz | 4/3 | perfect fourth |

Gb1 | 73,301 | RE1 52,125 Hz | 45/32 | augmented fourth |

G1 | 78,188 | RE1 52,125 Hz | 3/2 | perfect fifth |

Ab1 | 83,4 | RE1 52,125 Hz | 8/5 | minor sixth |

A1 | 86,875 | RE1 52,125 Hz | 5/3 | major sixth |

Bb1 | 93,825 | RE1 52,125 Hz | 9/5 | minor seventh |

B1 | 97,734 | RE1 52,125 Hz | 15/8 | major seventh |

C2 (RE2) | 104,25 | RE2 104,25 Hz | 1/1 | prime |

Db2 | 111,2 | RE2 104,25 Hz | 16/15 | minor second |

D2 | 117,28 | RE2 104,25 Hz | 9/8 | major second |

ES2 | 125,1 | RE2 104,25 Hz | 6/5 | minor third |

E2 | 130,31 | RE2 104,25 Hz | 5/4 | major third |

F2 | 139 | RE2 104,25 Hz | 4/3 | perfect fourth |

Gb2 | 146,6 | RE2 104,25 Hz | 45/32 | augmented fourth |

G2 | 156,38 | RE2 104,25 Hz | 3/2 | perfect fifth |

Ab2 | 166,80 | RE2 104,25 Hz | 8/5 | minor sixth |

A2 | 173,75 | RE2 104,25 Hz | 5/3 | major sixth |

Bb2 | 187,65 | RE2 104,25 Hz | 9/5 | minor seventh |

B2 | 195,47 | RE2 104,25 Hz | 15/8 | major seventh |

C3 (RE3) | 208,5 | RE3 208,5 Hz | 1/1 | prime |

Db3 | 222,4 | RE3 208,5 Hz | 16/15 | minor second |

D3 | 234,56 | RE3 208,5 Hz | 9/8 | major second |

ES3 | 250,2 | RE3 208,5 Hz | 6/5 | minor third |

E3 | 260,63 | RE3 208,5 Hz | 5/4 | major third |

F3 | 278 | RE3 208,5 Hz | 4/3 | perfect fourth |

Gb3 | 293,2 | RE3 208,5 Hz | 45/32 | augmented fourth |

G3 | 312,75 | RE3 208,5 Hz | 3/2 | perfect fifth |

Ab3 | 333,6 | RE3 208,5 Hz | 8/5 | minor sixth |

A3 | 347,5 | RE3 208,5 Hz | 5/3 | major sixth |

Bb3 | 375,3 | RE3 208,5 Hz | 9/5 | minor seventh |

B3 | 390,94 | RE3 208,5 Hz | 15/8 | major seventh |

C4 (RE4) | 417 | RE4 417 Hz | 1/1 | prime |

Db4 | 444,8 | RE4 417 Hz | 16/15 | minor second |

D4 | 469,13 | RE4 417 Hz | 9/8 | major second |

ES4 | 500,4 | RE4 417 Hz | 6/5 | minor third |

E4 | 521,25 | RE4 417 Hz | 5/4 | major third |

F4 | 556 | RE4 417 Hz | 4/3 | perfect fourth |

Gb4 | 586,41 | RE4 417 Hz | 45/32 | augmented fourth |

G4 | 625,5 | RE4 417 Hz | 3/2 | perfect fifth |

Ab4 | 667,2 | RE4 417 Hz | 8/5 | minor sixth |

A4 | 695 | RE4 417 Hz | 5/3 | major sixth |

Bb4 | 750,6 | RE4 417 Hz | 9/5 | minor seventh |

B4 | 781,88 | RE4 417 Hz | 15/8 | major seventh |

C5 (RE5) | 834 | RE5 834 Hz | 1/1 | prime |

Db5 | 889,6 | RE5 834 Hz | 16/15 | minor second |

D5 | 938,25 | RE5 834 Hz | 9/8 | major second |

ES5 | 1000,8 | RE5 834 Hz | 6/5 | minor third |

E5 | 1042,5 | RE5 834 Hz | 5/4 | major third |

F5 | 1112 | RE5 834 Hz | 4/3 | perfect fourth |

Gb5 | 1172,81 | RE5 834 Hz | 45/32 | augmented fourth |

G5 | 1261 | RE5 834 Hz | 3/2 | perfect fifth |

Ab5 | 1334,4 | RE5 834 Hz | 8/5 | minor sixth |

A5 | 1390 | RE5 834 Hz | 5/3 | major sixth |

Bb5 | 1501,2 | RE5 834 Hz | 9/5 | minor seventh |

B5 | 1563,75 | RE5 834 Hz | 15/8 | major seventh |

C6 (RE6) | 1668 | RE6 1668 Hz | 1/1 | prime |

Db6 | 1779,2 | RE6 1668 Hz | 16/15 | minor second |

D6 | 1876,5 | RE6 1668 Hz | 9/8 | major second |

ES6 | 2001,6 | RE6 1668 Hz | 6/5 | minor third |

E6 | 2085 | RE6 1668 Hz | 5/4 | major third |

F6 | 2224 | RE6 1668 Hz | 4/3 | perfect fourth |

Gb6 | 2345,63 | RE6 1668 Hz | 45/32 | augmented fourth |

G6 | 2502 | RE6 1668 Hz | 3/2 | perfect fifth |

Ab6 | 2668,8 | RE6 1668 Hz | 8/5 | minor sixth |

A6 | 2780 | RE6 1668 Hz | 5/3 | major sixth |

Bb6 | 3002,4 | RE6 1668 Hz | 9/5 | minor seventh |

B6 | 3127,5 | RE6 1668 Hz | 15/8 | major seventh |

C7 (RE7) | 3336 | RE7 3336 Hz | 1/1 | prime |

Db7 | 3558,4 | RE7 3336 Hz | 16/15 | minor second |

D7 | 3753 | RE7 3336 Hz | 9/8 | major second |

ES7 | 4003,2 | RE7 3336 Hz | 6/5 | minor third |

E7 | 4170 | RE7 3336 Hz | 5/4 | major third |

F7 | 4448 | RE7 3336 Hz | 4/3 | perfect fourth |

Gb7 | 4691,25 | RE7 3336 Hz | 45/32 | augmented fourth |

G7 | 5004 | RE7 3336 Hz | 3/2 | perfect fifth |

Ab7 | 5337,6 | RE7 3336 Hz | 8/5 | minor sixth |

A7 | 5560 | RE7 3336 Hz | 5/3 | major sixth |

Bb7 | 6004,8 | RE7 3336 Hz | 9/5 | minor seventh |

B7 | 6255 | RE7 3336 Hz | 15/8 | major seventh |

C8 (RE8) | 6672 | RE8 6672 Hz | 1/1 | prime |

### 528 Hz

MIra gestorum – Quersumme 6

Bezugsfrequenz = 33 Hz

Tone | Frequency Hz | Interval reference | Ratio | Interval |
---|---|---|---|---|

C1 (MI1) | 33 | MI1 33 Hz | 1/1 | prime |

Db1 | 35,2 | MI1 33 Hz | 16/15 | minor second |

D1 | 37,125 | MI1 33 Hz | 9/8 | major second |

ES1 | 39,6 | MI1 33 Hz | 6/5 | minor third |

E1 | 41,250 | MI1 33 Hz | 5/4 | major third |

F1 | 44 | MI1 33 Hz | 4/3 | perfect fourth |

Gb1 | 46,2 | MI1 33 Hz | 45/32 | augmented fourth |

G1 | 49,5 | MI1 33 Hz | 3/2 | perfect fifth |

Ab1 | 52,8 | MI1 33 Hz | 8/5 | minor sixth |

A1 | 55 | MI1 33 Hz | 5/3 | major sixth |

Bb1 | 59,4 | MI1 33 Hz | 9/5 | minor seventh |

B1 | 61,875 | MI1 33 Hz | 15/8 | major seventh |

C2 (MI2) | 66 | MI2 66 Hz | 1/1 | prime |

Db2 | 70.4 | MI2 66 Hz | 16/15 | minor second |

D2 | 74,25 | MI2 66 Hz | 9/8 | major second |

ES2 | 79,2 | MI2 66 Hz | 6/5 | minor third |

E2 | 82,5 | MI2 66 Hz | 5/4 | major third |

F2 | 88 | MI2 66 Hz | 4/3 | perfect fourth |

Gb2 | 92,4 | MI2 66 Hz | 45/32 | augmented fourth |

G2 | 99 | MI2 66 Hz | 3/2 | perfect fifth |

Ab2 | 1005,6 | MI2 66 Hz | 8/5 | minor sixth |

A2 | 110 | MI2 66 Hz | 5/3 | major sixth |

Bb2 | 118,8 | MI2 66 Hz | 9/5 | minor seventh |

B2 | 123,75 | MI2 66 Hz | 15/8 | major seventh |

C3 (MI3) | 132 | MI3 132 Hz | 1/1 | prime |

Db3 | 140,8 | MI3 132 Hz | 16/15 | minor second |

D3 | 148,5 | MI3 132 Hz | 9/8 | major second |

ES3 | 158,4 | MI3 132 Hz | 6/5 | minor third |

E3 | 165 | MI3 132 Hz | 5/4 | major third |

F3 | 176 | MI3 132 Hz | 4/3 | perfect fourth |

Gb3 | 184,8 | MI3 132 Hz | 45/32 | augmented fourth |

G3 | 198 | MI3 132 Hz | 3/2 | perfect fifth |

Ab3 | 211,2 | MI3 132 Hz | 8/5 | minor sixth |

A3 | 220 | MI3 132 Hz | 5/3 | major sixth |

Bb3 | 237,6 | MI3 132 Hz | 9/5 | minor seventh |

B3 | 247,5 | MI3 132 Hz | 15/8 | major seventh |

C4 (MI4) | 264 | MI4 264 Hz | 1/1 | prime |

Db4 | 281,6 | MI4 264 Hz | 16/15 | minor second |

D4 | 297 | MI4 264 Hz | 9/8 | major second |

ES4 | 316,8 | MI4 264 Hz | 6/5 | minor third |

E4 | 330 | MI4 264 Hz | 5/4 | major third |

F4 | 352 | MI4 264 Hz | 4/3 | perfect fourth |

Gb4 | 369,6 | MI4 264 Hz | 45/32 | augmented fourth |

G4 | 396 | MI4 264 Hz | 3/2 | perfect fifth |

Ab4 | 422,4 | MI4 264 Hz | 8/5 | minor sixth |

A4 | 440 | MI4 264 Hz | 5/3 | major sixth |

Bb4 | 475,2 | MI4 264 Hz | 9/5 | minor seventh |

B4 | 495 | MI4 264 Hz | 15/8 | major seventh |

C5 (MI5) | 528 | MI5 528 Hz | 1/1 | prime |

Db5 | 563,2 | MI5 528 Hz | 16/15 | minor second |

D5 | 594 | MI5 528 Hz | 9/8 | major second |

ES5 | 633,60 | MI5 528 Hz | 6/5 | minor third |

E5 | 660 | MI5 528 Hz | 5/4 | major third |

F5 | 704 | MI5 528 Hz | 4/3 | perfect fourth |

Gb5 | 739,2 | MI5 528 Hz | 45/32 | augmented fourth |

G5 | 792 | MI5 528 Hz | 3/2 | perfect fifth |

Ab5 | 844,8 | MI5 528 Hz | 8/5 | minor sixth |

A5 | 880 | MI5 528 Hz | 5/3 | major sixth |

Bb5 | 950,4 | MI5 528 Hz | 9/5 | minor seventh |

B5 | 990 | MI5 528 Hz | 15/8 | major seventh |

C6 (MI6) | 1056 | MI6 1056 Hz | 1/1 | prime |

Db6 | 1126,4 | MI6 1056 Hz | 16/15 | minor second |

D6 | 1188 | MI6 1056 Hz | 9/8 | major second |

ES6 | 1267,2 | MI6 1056 Hz | 6/5 | minor third |

E6 | 1320 | MI6 1056 Hz | 5/4 | major third |

F6 | 1408 | MI6 1056 Hz | 4/3 | perfect fourth |

Gb6 | 1478,4 | MI6 1056 Hz | 45/32 | augmented fourth |

G6 | 1584 | MI6 1056 Hz | 3/2 | perfect fifth |

Ab6 | 1689,6 | MI6 1056 Hz | 8/5 | minor sixth |

A6 | 1760 | MI6 1056 Hz | 5/3 | major sixth |

Bb6 | 1900,8 | MI6 1056 Hz | 9/5 | minor seventh |

B6 | 1980 | MI6 1980 Hz | 15/8 | major seventh |

C7 (MI7) | 2112 | MI7 2112Hz | 1/1 | prime |

Db7 | 2252,8 | MI7 2112Hz | 16/15 | minor second |

D7 | 2376 | MI7 2112Hz | 9/8 | major second |

ES7 | 2534,4 | MI7 2112Hz | 6/5 | minor third |

E7 | 2640 | MI7 2112Hz | 5/4 | major third |

F7 | 2816 | MI7 2112Hz | 4/3 | perfect fourth |

Gb7 | 2956,8 | MI7 2112Hz | 45/32 | augmented fourth |

G7 | 3168 | MI7 2112Hz | 3/2 | perfect fifth |

Ab7 | 3379,2 | MI7 2112Hz | 8/5 | minor sixth |

A7 | 3520 | MI7 2112Hz | 5/3 | major sixth |

Bb7 | 3801,6 | MI7 2112Hz | 9/5 | minor seventh |

B7 | 3960 | MI7 2112Hz | 15/8 | major seventh |

C8 (MI8) | 4224 | MI8 4224Hz | 1/1 | prime |

Db8 | 4505,6 | MI8 4224Hz | 16/15 | minor second |

D8 | 5068,8 | MI8 4224Hz | 9/8 | major second |

ES8 | 5280 | MI8 4224Hz | 6/5 | minor third |

E8 | 5632 | MI8 4224Hz | 5/4 | major third |

F8 | 5913,6 | MI8 4224Hz | 4/3 | perfect fourth |

Gb8 | 6336 | MI8 4224Hz | 45/32 | augmented fourth |

Ab8 | 6758,4 | MI8 4224Hz | 8/5 | minor sixth |

A8 | 7040 | MI8 4224Hz | 5/3 | major sixth |

Bb8 | 7603,2 | MI8 4224Hz | 9/5 | minor seventh |

B8 | 7920 | MI8 4224Hz | 15/8 | major seventh |

C9 (MI9) | 8448 | MI9 8448 Hz | 1/1 | prime |

### 639 Hz

FAmuli tuorum – Quersumme 9

Bezugsfrequenz = 639 Hz

Tone | Frequency Hz | Interval reference | Ratio | Interval |
---|---|---|---|---|

C1 (FA1) | 79,875 | FA1 80 Hz | 1/1 | prime |

Db1 | 85,20 | FA1 80 Hz | 16/15 | minor second |

D1 | 89,859 | FA1 80 Hz | 9/8 | major second |

ES1 | 95,85 | FA1 80 Hz | 6/5 | minor third |

E1 | 99,844 | FA1 80 Hz | 5/4 | major third |

F1 | 106,5 | FA1 80 Hz | 4/3 | perfect fourth |

Gb1 | 112,324 | FA1 80 Hz | 45/32 | augmented fourth |

G1 | 119,813 | FA1 80 Hz | 3/2 | perfect fifth |

Ab1 | 127,8 | FA1 80 Hz | 8/5 | minor sixth |

A1 | 133,125 | FA1 80 Hz | 5/3 | major sixth |

Bb1 | 143,775 | FA1 80 Hz | 9/5 | minor seventh |

B1 | 149,766 | FA1 80 Hz | 15/8 | major seventh |

C2 (FA2) | 159,75 | FA2 160 Hz | 1/1 | prime |

Db2 | 170,40 | FA2 160 Hz | 16/15 | minor second |

D2 | 179,72 | FA2 160 Hz | 9/8 | major second |

ES2 | 191,7 | FA2 160 Hz | 6/5 | minor third |

E2 | 199,69 | FA2 160 Hz | 5/4 | major third |

F2 | 213 | FA2 160 Hz | 4/3 | perfect fourth |

Gb2 | 224,65 | FA2 160 Hz | 45/32 | augmented fourth |

G2 | 239,63 | FA2 160 Hz | 3/2 | perfect fifth |

Ab2 | 255,6 | FA2 160 Hz | 8/5 | minor sixth |

A2 | 266,25 | FA2 160 Hz | 5/3 | major sixth |

Bb2 | 287,55 | FA2 160 Hz | 9/5 | minor seventh |

B2 | 299,53 | FA2 160 Hz | 15/8 | major seventh |

C3 (FA3) | 319,5 | FA3 320 Hz | 1/1 | prime |

Db3 | 340,8 | FA3 320 Hz | 16/15 | minor second |

D3 | 359,44 | FA3 320 Hz | 9/8 | major second |

ES3 | 383,4 | FA3 320 Hz | 6/5 | minor third |

E3 | 399,38 | FA3 320 Hz | 5/4 | major third |

F3 | 426 | FA3 320 Hz | 4/3 | perfect fourth |

Gb3 | 449,3 | FA3 320 Hz | 45/32 | augmented fourth |

G3 | 479,25 | FA3 320 Hz | 3/2 | perfect fifth |

Ab3 | 511,2 | FA3 320 Hz | 8/5 | minor sixth |

A3 | 532,5 | FA3 320 Hz | 5/3 | major sixth |

Bb3 | 575,1 | FA3 320 Hz | 9/5 | minor seventh |

B3 | 599,06 | FA3 320 Hz | 15/8 | major seventh |

C4 (FA4) | 639 | FA4 639 Hz | 1/1 | prime |

Db4 | 681,6 | FA4 639 Hz | 16/15 | minor second |

D4 | 718,88 | FA4 639 Hz | 9/8 | major second |

ES4 | 766,8 | FA4 639 Hz | 6/5 | minor third |

E4 | 798,75 | FA4 639 Hz | 5/4 | major third |

F4 | 852 | FA4 639 Hz | 4/3 | perfect fourth |

Gb4 | 898,59 | FA4 639 Hz | 45/32 | augmented fourth |

G4 | 958,5 | FA4 639 Hz | 3/2 | perfect fifth |

Ab4 | 1022,4 | FA4 639 Hz | 8/5 | minor sixth |

A4 | 1065 | FA4 639 Hz | 5/3 | major sixth |

Bb4 | 1150,2 | FA4 639 Hz | 9/5 | minor seventh |

B4 | 1198,13 | FA4 639 Hz | 15/8 | major seventh |

C5 (FA5) | 1278 | FA5 1278 Hz | 1/1 | prime |

Db5 | 1363,2 | FA5 1278 Hz | 16/15 | minor second |

D5 | 1437,75 | FA5 1278 Hz | 9/8 | major second |

ES5 | 1533,6 | FA5 1278 Hz | 6/5 | minor third |

E5 | 1597,5 | FA5 1278 Hz | 5/4 | major third |

F5 | 1704 | FA5 1278 Hz | 4/3 | perfect fourth |

Gb5 | 1797,19 | FA5 1278 Hz | 45/32 | augmented fourth |

G5 | 1917 | FA5 1278 Hz | 3/2 | perfect fifth |

Ab5 | 2044,8 | FA5 1278 Hz | 8/5 | minor sixth |

A5 | 2130 | FA5 1278 Hz | 5/3 | major sixth |

Bb5 | 2300,4 | FA5 1278 Hz | 9/5 | minor seventh |

B5 | 2396,25 | FA5 1278 Hz | 15/8 | major seventh |

C6 (FA6) | 2556 | FA6 2556 Hz | 1/1 | prime |

Db6 | 2726,4 | FA6 2556 Hz | 16/15 | minor second |

D6 | 2875,5 | FA6 2556 Hz | 9/8 | major second |

ES6 | 3067,2 | FA6 2556 Hz | 6/5 | minor third |

E6 | 3195 | FA6 2556 Hz | 5/4 | major third |

F6 | 3408 | FA6 2556 Hz | 4/3 | perfect fourth |

Gb6 | 3594,38 | FA6 2556 Hz | 45/32 | augmented fourth |

G6 | 3834 | FA6 2556 Hz | 3/2 | perfect fifth |

Ab6 | 4089,6 | FA6 2556 Hz | 8/5 | minor sixth |

A6 | 4260 | FA6 2556 Hz | 5/3 | major sixth |

Bb6 | 4600,8 | FA6 2556 Hz | 9/5 | minor seventh |

B6 | 4792,5 | FA6 2556 Hz | 15/8 | major seventh |

C7 (FA7) | 5112 | FA7 5112 Hz | 1/1 | prime |

Db7 | 16/15 | minor second | ||

D7 | 9/8 | major second | ||

ES7 | 6/5 | minor third | ||

E7 | 5/4 | major third | ||

F7 | 4/3 | perfect fourth | ||

Gb7 | 45/32 | augmented fourth | ||

G7 | 3/2 | perfect fifth | ||

Ab7 | 8/5 | minor sixth | ||

A7 | 5/3 | major sixth | ||

Bb7 | 9/5 | minor seventh | ||

B7 | 15/8 | major seventh | ||

C8 (FA8) | 1/1 | prime |

### 741 Hz

SOLlve polluti – Quersumme 3

Bezugsfrequenz = 741 Hz

Tone | Frequency Hz | Interval reference | Ratio | Interval |
---|---|---|---|---|

C1 (SOL1) | 46,31 | SOL1 46 Hz | 1/1 | prime |

Db1 | 49,4 | SOL1 46 Hz | 16/15 | minor second |

D1 | 52,1 | SOL1 46 Hz | 9/8 | major second |

ES1 | 55,58 | SOL1 46 Hz | 6/5 | minor third |

E1 | 57,9 | SOL1 46 Hz | 5/4 | major third |

F1 | 61,8 | SOL1 46 Hz | 4/3 | perfect fourth |

Gb1 | 65,13 | SOL1 46 Hz | 45/32 | augmented fourth |

G1 | 69,47 | SOL1 46 Hz | 3/2 | perfect fifth |

Ab1 | 74,1 | SOL1 46 Hz | 8/5 | minor sixth |

A1 | 77,19 | SOL1 46 Hz | 5/3 | major sixth |

Bb1 | 83,36 | SOL1 46 Hz | 9/5 | minor seventh |

B1 | 86,84 | SOL1 46 Hz | 15/8 | major seventh |

C2 (SOL2) | 92,63 | SOL2 92 Hz | 1/1 | prime |

Db2 | 98,8 | SOL2 92 Hz | 16/15 | minor second |

D2 | 104,2 | SOL2 92 Hz | 9/8 | major second |

ES2 | 111,15 | SOL2 92 Hz | 6/5 | minor third |

E2 | 115,78 | SOL2 92 Hz | 5/4 | major third |

F2 | 123,5 | SOL2 92 Hz | 4/3 | perfect fourth |

Gb2 | 130,25 | SOL2 92 Hz | 45/32 | augmented fourth |

G2 | 138,94 | SOL2 92 Hz | 3/2 | perfect fifth |

Ab2 | 148,2 | SOL2 92 Hz | 8/5 | minor sixth |

A2 | 154,38 | SOL2 92 Hz | 5/3 | major sixth |

Bb2 | 166,73 | SOL2 92 Hz | 9/5 | minor seventh |

B2 | 173,67 | SOL2 92 Hz | 15/8 | major seventh |

C3 (SOL3) | 185,25 | SOL3 185 Hz | 1/1 | prime |

Db3 | 197,6 | SOL3 185 Hz | 16/15 | minor second |

D3 | 208,41 | SOL3 185 Hz | 9/8 | major second |

ES3 | 222,30 | SOL3 185 Hz | 6/5 | minor third |

E3 | 231,56 | SOL3 185 Hz | 5/4 | major third |

F3 | 247 | SOL3 185 Hz | 4/3 | perfect fourth |

Gb3 | 260,51 | SOL3 185 Hz | 45/32 | augmented fourth |

G3 | 277,88 | SOL3 185 Hz | 3/2 | perfect fifth |

Ab3 | 296,4 | SOL3 185 Hz | 8/5 | minor sixth |

A3 | 308,75 | SOL3 185 Hz | 5/3 | major sixth |

Bb3 | 333,45 | SOL3 185 Hz | 9/5 | minor seventh |

B3 | 347,34 | SOL3 185 Hz | 15/8 | major seventh |

C4 (SOL4) | 370,5 | SOL4 370 Hz | 1/1 | prime |

Db4 | 395,2 | SOL4 370 Hz | 16/15 | minor second |

D4 | 416,81 | SOL4 370 Hz | 9/8 | major second |

ES4 | 444,6 | SOL4 370 Hz | 6/5 | minor third |

E4 | 463,13 | SOL4 370 Hz | 5/4 | major third |

F4 | 494 | SOL4 370 Hz | 4/3 | perfect fourth |

Gb4 | 521,02 | SOL4 370 Hz | 45/32 | augmented fourth |

G4 | 555,75 | SOL4 370 Hz | 3/2 | perfect fifth |

Ab4 | 592,80 | SOL4 370 Hz | 8/5 | minor sixth |

A4 | 617,5 | SOL4 370 Hz | 5/3 | major sixth |

Bb4 | 666,9 | SOL4 370 Hz | 9/5 | minor seventh |

B4 | 694,69 | SOL4 370 Hz | 15/8 | major seventh |

C5 (SOL5) | 741 | SOL5 741 Hz | 1/1 | prime |

Db5 | 790,4 | SOL5 741 Hz | 16/15 | minor second |

D5 | 833,63 | SOL5 741 Hz | 9/8 | major second |

ES5 | 889,2 | SOL5 741 Hz | 6/5 | minor third |

E5 | 926,25 | SOL5 741 Hz | 5/4 | major third |

F5 | 988 | SOL5 741 Hz | 4/3 | perfect fourth |

Gb5 | 1042,03 | SOL5 741 Hz | 45/32 | augmented fourth |

G5 | 1111,5 | SOL5 741 Hz | 3/2 | perfect fifth |

Ab5 | 1185,6 | SOL5 741 Hz | 8/5 | minor sixth |

A5 | 1235 | SOL5 741 Hz | 5/3 | major sixth |

Bb5 | 1333,8 | SOL5 741 Hz | 9/5 | minor seventh |

B5 | 1389,38 | SOL5 741 Hz | 15/8 | major seventh |

C6 (SOL6) | 1482 | SOL6 1482 Hz | 1/1 | prime |

Db6 | 1580,8 | SOL6 1482 Hz | 16/15 | minor second |

D6 | 1667,25 | SOL6 1482 Hz | 9/8 | major second |

ES6 | 1778,4 | SOL6 1482 Hz | 6/5 | minor third |

E6 | 1852,5 | SOL6 1482 Hz | 5/4 | major third |

F6 | 1976 | SOL6 1482 Hz | 4/3 | perfect fourth |

Gb6 | 2084,06 | SOL6 1482 Hz | 45/32 | augmented fourth |

G6 | 2223 | SOL6 1482 Hz | 3/2 | perfect fifth |

Ab6 | 2371,2 | SOL6 1482 Hz | 8/5 | minor sixth |

A6 | 2470 | SOL6 1482 Hz | 5/3 | major sixth |

Bb6 | 2667,6 | SOL6 1482 Hz | 9/5 | minor seventh |

B6 | 2778,75 | SOL6 1482 Hz | 15/8 | major seventh |

C7 (SOL7) | 2964 | SOL7 2964 Hz | 1/1 | prime |

Db7 | 3161,6 | SOL7 2964 Hz | 16/15 | minor second |

D7 | 3334,5 | SOL7 2964 Hz | 9/8 | major second |

ES7 | 3556,8 | SOL7 2964 Hz | 6/5 | minor third |

E7 | 3705 | SOL7 2964 Hz | 5/4 | major third |

F7 | 3952 | SOL7 2964 Hz | 4/3 | perfect fourth |

Gb7 | 4168,13 | SOL7 2964 Hz | 45/32 | augmented fourth |

G7 | 4446 | SOL7 2964 Hz | 3/2 | perfect fifth |

Ab7 | 4742,4 | SOL7 2964 Hz | 8/5 | minor sixth |

A7 | 4940 | SOL7 2964 Hz | 5/3 | major sixth |

Bb7 | 5335,2 | SOL7 2964 Hz | 9/5 | minor seventh |

B7 | 5557,5 | SOL7 2964 Hz | 15/8 | major seventh |

C8 (SOL8) | 5928 | SOL8 5928 Hz | 1/1 | prime |

### 852 Hz

LAbii reatum – Quersumme 6

Bezugsfrequenz = 213 Hz

Tone | Frequency Hz | Interval reference | Ratio | Interval |
---|---|---|---|---|

C1 (LA1) | 53,25 | LA1 53,25 Hz | 1/1 | prime |

Db1 | 56,8 | LA1 53,25 Hz | 16/15 | minor second |

D1 | 59,91 | LA1 53,25 Hz | 9/8 | major second |

ES1 | 63,9 | LA1 53,25 Hz | 6/5 | minor third |

E1 | 66,57 | LA1 53,25 Hz | 5/4 | major third |

F1 | 71 | LA1 53,25 Hz | 4/3 | perfect fourth |

Gb1 | 74,55 | LA1 53,25 Hz | 45/32 | augmented fourth |

G1 | 79,88 | LA1 53,25 Hz | 3/2 | perfect fifth |

Ab1 | 85,2 | LA1 53,25 Hz | 8/5 | minor sixth |

A1 | 88,75 | LA1 53,25 Hz | 5/3 | major sixth |

Bb1 | 95,85 | LA1 53,25 Hz | 9/5 | minor seventh |

B1 | 99,84 | LA1 53,25 Hz | 15/8 | major seventh |

C2 (LA2) | 106,5 | LA2 106,5 Hz | 1/1 | prime |

Db2 | 113,6 | LA2 106,5 Hz | 16/15 | minor second |

D2 | 119,81 | LA2 106,5 Hz | 9/8 | major second |

ES2 | 127,8 | LA2 106,5 Hz | 6/5 | minor third |

E2 | 133,13 | LA2 106,5 Hz | 5/4 | major third |

F2 | 142 | LA2 106,5 Hz | 4/3 | perfect fourth |

Gb2 | 149,1 | LA2 106,5 Hz | 45/32 | augmented fourth |

G2 | 159,75 | LA2 106,5 Hz | 3/2 | perfect fifth |

Ab2 | 170,4 | LA2 106,5 Hz | 8/5 | minor sixth |

A2 | 177,5 | LA2 106,5 Hz | 5/3 | major sixth |

Bb2 | 191,7 | LA2 106,5 Hz | 9/5 | minor seventh |

B2 | 199,69 | LA2 106,5 Hz | 15/8 | major seventh |

C3 (LA3) | 213 | LA3 213 Hz | 1/1 | prime |

Db3 | 227,2 | LA3 213 Hz | 16/15 | minor second |

D3 | 239,63 | LA3 213 Hz | 9/8 | major second |

ES3 | 255,6 | LA3 213 Hz | 6/5 | minor third |

E3 | 266,25 | LA3 213 Hz | 5/4 | major third |

F3 | 284 | LA3 213 Hz | 4/3 | perfect fourth |

Gb3 | 298,2 | LA3 213 Hz | 45/32 | augmented fourth |

G3 | 319,5 | LA3 213 Hz | 3/2 | perfect fifth |

Ab3 | 340,8 | LA3 213 Hz | 8/5 | minor sixth |

A3 | 355 | LA3 213 Hz | 5/3 | major sixth |

Bb3 | 383,4 | LA3 213 Hz | 9/5 | minor seventh |

B3 | 399,38 | LA3 213 Hz | 15/8 | major seventh |

C4 (LA4) | 426 | LA4 426 Hz | 1/1 | prime |

Db4 | 454,4 | LA4 426 Hz | 16/15 | minor second |

D4 | 479,25 | LA4 426 Hz | 9/8 | major second |

ES4 | 511,2 | LA4 426 Hz | 6/5 | minor third |

E4 | 532,5 | LA4 426 Hz | 5/4 | major third |

F4 | 568 | LA4 426 Hz | 4/3 | perfect fourth |

Gb4 | 596,4 | LA4 426 Hz | 45/32 | augmented fourth |

G4 | 639 | LA4 426 Hz | 3/2 | perfect fifth |

Ab4 | 681,6 | LA4 426 Hz | 8/5 | minor sixth |

A4 | 710 | LA4 426 Hz | 5/3 | major sixth |

Bb4 | 766,8 | LA4 426 Hz | 9/5 | minor seventh |

B4 | 798,75 | LA4 852 Hz | 15/8 | major seventh |

C5 (LA5) | 852 | LA5 852 Hz | 1/1 | prime |

Db5 | 908,8 | LA5 852 Hz | 16/15 | minor second |

D5 | 958,5 | LA5 852 Hz | 9/8 | major second |

ES5 | 1022,4 | LA5 852 Hz | 6/5 | minor third |

E5 | 1065 | LA5 852 Hz | 5/4 | major third |

F5 | 1136 | LA5 852 Hz | 4/3 | perfect fourth |

Gb5 | 1192,8 | LA5 852 Hz | 45/32 | augmented fourth |

G5 | 1278 | LA5 852 Hz | 3/2 | perfect fifth |

Ab5 | 1363,2 | LA5 852 Hz | 8/5 | minor sixth |

A5 | 1420 | LA5 852 Hz | 5/3 | major sixth |

Bb5 | 1533,6 | LA5 852 Hz | 9/5 | minor seventh |

B5 | 1597,5 | LA5 852 Hz | 15/8 | major seventh |

C6 (LA6) | 1704 | LA6 1704 Hz | 1/1 | prime |

Db6 | 1817,6 | LA6 1704 Hz | 16/15 | minor second |

D6 | 1917 | LA6 1704 Hz | 9/8 | major second |

ES6 | 2044,8 | LA6 1704 Hz | 6/5 | minor third |

E6 | 2130 | LA6 1704 Hz | 5/4 | major third |

F6 | 2272 | LA6 1704 Hz | 4/3 | perfect fourth |

Gb6 | 2385,6 | LA6 1704 Hz | 45/32 | augmented fourth |

G6 | 2556 | LA6 1704 Hz | 3/2 | perfect fifth |

Ab6 | 2726,4 | LA6 1704 Hz | 8/5 | minor sixth |

A6 | 2840 | LA6 1704 Hz | 5/3 | major sixth |

Bb6 | 3067,2 | LA6 1704 Hz | 9/5 | minor seventh |

B6 | 3195 | LA6 1704 Hz | 15/8 | major seventh |

C7 (LA7) | 3408 | LA7 3408 Hz | 1/1 | prime |

Db7 | 3635,2 | LA7 3408 Hz | 16/15 | minor second |

D7 | 3834 | LA7 3408 Hz | 9/8 | major second |

ES7 | 4089,6 | LA7 3408 Hz | 6/5 | minor third |

E7 | 4260 | LA7 3408 Hz | 5/4 | major third |

F7 | 4544 | LA7 3408 Hz | 4/3 | perfect fourth |

Gb7 | 4771,2 | LA7 3408 Hz | 45/32 | augmented fourth |

G7 | 5112 | LA7 3408 Hz | 3/2 | perfect fifth |

Ab7 | 5452,8 | LA7 3408 Hz | 8/5 | minor sixth |

A7 | 5680 | LA7 3408 Hz | 5/3 | major sixth |

Bb7 | 6134 | LA7 3408 Hz | 9/5 | minor seventh |

B7 | 6390 | LA7 3408 Hz | 15/8 | major seventh |

C8 (LA8) | 6816 | LA 6816 Hz | 1/1 | prime |