432 Hz

^{To fully understand the importance of music calibrated at 432 Hz, it is necessary to understand why this frequency plays a crucial role in the world not only of music but of the entire relationship between man and surrounding nature.
The 432 Hz tuning (the central A note of the piano, or A4) dates back to the dawn of time. Greeks, Egyptians and probably other peoples and cultures used to use this type of tuning because, it was thought, it was able to come into harmonic balance with the individual and the surrounding environment.
It was thought, in fact, that this frequency was connected to the natural vibration of the electromagnetic field of the planet Earth and that therefore, listening to and producing music tuned to 432 Hz had beneficial results for the body and spirit as it produced harmony and Welfare.
Based on this tuning, in fact, the C that precedes the A at 432 Hz, has a frequency of 256 Hz (precisely 256.8687 Hz) and one of its natural harmonics is 8 Hz, that is the frequency of the vibration of the electromagnetic field placed between the earth and the ionosphere.
The use of music at 432 Hz in ancient cultures was due to the fact that they knew and assiduously used the so-called "golden section", expressed with the ratio between two unequal lengths, of which the greater and the average proportional between the smaller and the sum of the two.
According to this proportion, the golden number 1.6180 represents the relationship between these two measures.
Egyptians, for example, used the golden proportion in the construction of the pyramids, as was later demonstrated in recent times; the Greeks, as well as the Indians, in their architectural constructions and sculpture.
In the Renaissance the golden proportion was demonstrated by Leonardo Pisano, known as the “Fibonacci”: the infamous “Fibonacci sequence”, in fact, was represented by a sequence of numbers in which each number is the sum of the two preceding it.
Leonardo Da Vinci, in his Code of the Knowledge of Vitruvian Man, used the Fibonacci sequence based on the golden proportion.
This special mathematical relationship is intrinsically linked to the code of life because it faithfully reflects human proportions, as Leonardo himself demonstrated, in particular in the shape of the auricle, in the shape of a spiral, not surprisingly the seat of the organ of the sense of hearing. . The spiral constructed with the Fibonacci sequence and the golden proportion can also be found in the conformation of galaxies and in nature, on the conformation of some flower petals and on the spiral of the Nautilus mollusk.
Come in nature, even in music it was later discovered how the natural tuning at 432 Hz fully respects the golden proportion.
These proportions have been found perfectly in many musical works of worldwide importance and timeless such as Bach's "The Art of Fugue", Mozart's Sonatas, Beethoven's "Fifth Symphony" and not least Stravinsky's "Spring Festival". .
J. S. Bach and G. F. Händel, in the eighteenth century, joined a society of musical sciences that wanted to show the strong link between music and mathematics.
In recent times, then, the golden proportion and the Fibonacci sequence, as well as the 432 Hz tuning, has been used in the progressive rock of Genesis, with particular reference to their song "Firth of Fifth", all based on golden numbers . Deep Purple also used golden numbers in their compositions, in their "Child in Time", as well as Dream Theater in their album Octavarium, entirely conceived on the relationship between the number 8 and 5. In 2001, then the American band Tool publishes the single "Lateralus" entirely conceived and created faithfully respecting the Fibonacci sequence.
However, the 432 Hz golden tuning saw a dark period under the Nazi regime. In 1939 the Nazi hierarch Joseph Goebbels called a conference to approve a worldwide resolution that banned the golden pitch at 432 Hz and passed the standard of 440 Hz tuning.
The choice was dictated by the results that emerged following a research commissioned by the Rotshild-Rockefeller foundation, according to which 432 Hz music relaxed the soul, while that at 440 Hz facilitated the occurrence of violent and animalistic reactions.
It is told how many of the authoritative supporters of the 432 Hz tuning were invited to the conference, including Giuseppe Verdi. The latter, in fact, argued that, despite the perception in the ear was minimal if not imperceptible and in no way influencing the nature of the composition, listening to music at 432 Hz, as well as a more natural and simpler result for singers, gave the sound a touch of majesty, fullness and almost nobility.
In reality, what is now also known by the term "Verdi tuning" at 432 Hz, was only one option among those proposed by Verdi himself; he mainly supported the French tuning which fixed the A at 435 Hz, as his intent was to standardize the tuning system in the peninsula; it was an Italian commission that fixed the A at 432 Hz and he accepted it as a papable and equally effective alternative.
Furthermore, it must be said that in 1713 the French physicist Joseph Sauveur proposed the central C at 256.0 Hz as an intonation system, for sheer convenience in transcriptions of a scientific nature. It was recognized by the term "scientific tuning", as the C has a frequency in hertz expressed as a power of 2. Therefore, the middle A would have had a pitch at 430.54 Hz.
The prudent and "intelligent" imposition of the Nazi government and its propaganda mentor to ban the 432 Hz tuning in favor of the 440 Hz one, which is still in use today at an international level, was precisely due to the fact that, introducing a disharmonizing frequency, it was easier to manipulate minds and people, as they turned out to be more depressed, sad. But also, in a warlike perspective, it would have produced stronger and more aggressive military troops.}