432 tuning fork

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Permalink Reply by Marco Tonini on October 13, 2010 at 9:00pm

Thanks Christopher,
but I think I was misunderstood.
This question is the last of my problems, my life goes on anyway, I have got other problems more important than 432 Hz.
I don't want to show nothing, other people suggest the 432 Hz theory, not me.
But I'd like this people show us a good explanation; till now I only read about strange concepts and mathematical considerations without sense because of the "second" conventionality,as I said formerly. Period. No problem.
But I'm happy you, Skye and other friends gave me your opinions, :-)

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Permalink Reply by Filip Rydlo on April 15, 2011 at 2:18pm

31 cent ??? WoooooooooooW !

So the 7-th overtone must be somehow related to this !
May be thats why it sounds so deep-hearted !

It is 31 cent lower than on the piano - tempered tuning. :D

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Permalink Reply by Skye Løfvander on April 15, 2011 at 2:40pm

There are many different tempered tunings but you are probably thinking of 12TET (http://en.wikipedia.org/wiki/Equal_temperament)
The deviation between 440 and 432 Hz is 31.8 cent (log(440/432)x1200/log2)
The deviation between 7/4 (968,826 cent) and the equal tempered small seventh (1000 cent) is - as you can see - 31,174 cent.
So it is not the same thing.
The natural seventh sounds so deep hearted because it is part of the harmonic series!! -It IS the universal music.

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Permalink Reply by Skye Løfvander on November 7, 2013 at 4:34pm

It seems that the 432 campaign has gathered more momentum - not in quality but in visibility.
Therefore I wrote an article dealing with the various aspects of this issue.

432 Red Herrings Per Second
The notion that in the tonal world the frequency value 432 Hz is an expression of something special, has proven to be tenacious.
Is 432 Hz an expression of a deeper, more natural, perhaps even more cosmic concert pitch than 440 Hz?

My immediate and clear answer is no!

...

You may find the text here!

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Permalink Reply by Marco Tonini on November 8, 2013 at 12:41am

Great, I totally agree


Skye Løfvander said:

It seems that the 432 campaign has gathered more momentum - not in quality but in visibility.
Therefore I wrote an article dealing with the various aspects of this issue.

432 Red Herrings Per Second
The notion that in the tonal world the frequency value 432 Hz is an expression of something special, has proven to be tenacious.
Is 432 Hz an expression of a deeper, more natural, perhaps even more cosmic concert pitch than 440 Hz?

My immediate and clear answer is no!

...

You may find the text here!

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Permalink Reply by Wolfgang Saus on November 8, 2013 at 10:06am

I totally agree to as it concerns the number theories. But lowering the concert pitch makes sense in some cases.

Many pieces written for voice sound now up to 100 ct higher, which matters when it goes to the upper limits of a soprano aria or if it concernes the passagio for instance. In general the orchestra sound changes to a louder sound with a different loudness distribution in the overtones when rising the concert pitch. The loudness in another problem for singers. And the sound the composer had in mind is changed too by changing the pitch.

However there might be somthing like a "natural" concert pitch. I am testing my hypothesis of a "fixed" second formant in gregorian chant. I will report as soon as I have reliable results.

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Permalink Reply by Marco Tonini on November 9, 2013 at 2:19pm

Wolfgang, the real main question was why 432 Hz and not 431 or 433 or others?
Do you refer to' the Titze second singing formant?

Wolfgang Saus said:

I totally agree to as it concerns the number theories. But lowering the concert pitch makes sense in some cases.

Many pieces written for voice sound now up to 100 ct higher, which matters when it goes to the upper limits of a soprano aria or if it concernes the passagio for instance. In general the orchestra sound changes to a louder sound with a different loudness distribution in the overtones when rising the concert pitch. The loudness in another problem for singers. And the sound the composer had in mind is changed too by changing the pitch.

However there might be somthing like a "natural" concert pitch. I am testing my hypothesis of a "fixed" second formant in gregorian chant. I will report as soon as I have reliable results.

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Permalink Reply by Wolfgang Saus on November 9, 2013 at 11:01pm

Marco, I don't know what Titze second formant is. I mean the convetional second voice formant. It's bit lengthy to explain. And not all experiments are done yet. It's about harmonic formant constellations, i. e. harmonic vowels and energy efficient singing. In the attachement you'll find a scheme of all possible "economic vowels". I am on my way to compare those with gregorian chant melodies for different monastries but same texts and looking for the statitically most energy saving tuning... this, as a very short version of my new approach.

The scheme shows lines of harmonic intervals between the first and second formant. Those are the vowels of what I called "singing phonetics". For comparison Swedish speaking vowels are shown as published by Fant.

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Permalink Reply by Skye Løfvander on April 8, 2014 at 2:47am

Please read Milton Mermikides' clear and thorough reflections on this subject!
http://www.miltonline.com/2014/01/07/hertz-so-good/

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