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THE IMPORTANCE OF 432HZ MUSIC

Article By: Brian T Collins
The recent public disclosure of the vibratory/oscillatory nature of the universe indicates that the
current de facto international concert pitch A=440Hz ET may possibly generate an unhealthy effect
or anti-social behavior in the consciousness of human beings.
Our inner ear for example works on the basis of Phi
dampening. The waters of our inner ears rely on Fibonacci spiral dampening through the seashell
like structure of the cochlea to keep us feeling centered or grounded. This Fibonacci spiral shape
helps cancel out certain inertial standing wave interference patterns just like a Helmholtz resonator
in order to keep us properly balanced with the natural environment around us. When the inner ear is
in stress we can experience a type of fog like condition or feel spaced out.
Let us examine what Chas Stoddard has to say in A Short History of Tuning and Temperament
about the inner ear and its spiral shape
An interesting consideration is the phenomenon of the octave. Why is it, when we consider the
audible frequency range from 20 Hz to 20 KHz, we perceive a series of points along this scale that
we can consider as having the same quality while patently being a different note? Part of the
explanation may be that if we take a bi-lateral cross section through the cochlea, that part of the
ears mechanism responsible for converting acoustic energy into electrical impulses, it reveals a
spiral shape which can be described mathematically by a Fibonacci Series; the same maths govern
the principles of the harmonic series. Neuro-pathology of the ear shows that octaves are decoded at
the same point in each layer of the spiral. Some experts maintain that if the cochlea was a straight
cone, rather than a tightly-wound spiral, we would have no perception of the octave at all; all we
would hear would be a series of successively rising tones. -Chas Stoddard, A Short History of
Tuning and Temperament
The natural Phi spiral shape of the cochlea can be found planet wide in a majority natural organic
based life.
DNA in its measurements of 31 by 21 angstroms suggests golden mean or Fibonacci structure. DNA
can oscillate to protect itself from dissonant interference patterns of mechanical and electromagnetic
waves. I propose that equal temperament and tunings of higher pitch may possibly effect DNA as
DNA resonates the language of music and not syntax binary. More study needs to be done in this
area by academic and independent researchers as according to Bruce Lipton, the biological
functions of DNA can be affected in positive or negative ways.
According to the scottish composer Stuart Mitchell DNA is a cosmic musical score operating triplets
of rhythm at over 3000 beats per minute.
Truly all frequencies affect DNA and consciousness and DNA responds to the environment both
local and non-local. No one frequency can be claimed be a magic one and only healing frequency,
as we exist as an infinite universal medium of dimension. The New Age terms of 3D 4D 5D is
completely a misnomer of true multi-dimension.
Changing frequency may also change the electric potential of the brain which may alter and affect
memory and perception by the slight change and charge within the water in our cells.
This is perhaps why A=440Hz ET and higher concert pitches can be perceived as a brighter, thinner,
outward of the head, whereas concert pitch at A=432Hz 12T5 or C=256Hz can be perceived as an
inward experience of feeling. Our heart has more morphogenetic fields than the brain and is one of
the first things to form in the womb, beating out the soliton pulse of cosmic musical DNA. We feel our
emotional bodies from the heart and our solar plexus is the nerve cluster that senses those feelings
like a microphone or transducer.
From my own observations, some of the harmonic overtone partials of A=432hz 12T5 appear to line
up to natural patterns and also the resonance of solitons. Solitons need a specific range to form into
the realm of density and span from the micro to the macro cosmos. Solitons are not only found in
water mechanics, but also in the ion-acoustic breath between electrons and protons.
A measured phenomenon of effect that may support the idea of using A=432hz and 256Hz as a
scientific concert pitch is also based on the amount of partials of A=432hz from a musical scale that
seem to correlate to organic systems and the measurement of planetary movement, the Sun and
Saturn for example. Saturn is one of the solar systems accurate time pieces and it orbits the
procession ever 864 of its years (432 x 2).
Fulcanelli, the mysterious french master alchemist who wrote Le Mystre des Cathdrales had this
to say about Saturn when he deciphered the planetary cyclic cross at Hendaye: Saturn, because
it is at the greatest distance from the sun of all the visible planets, has the longest year, taking a
little less than 30 years to complete one circuit of the zodiac. This makes it the best precessional
timekeeper of all the planets.
Saturn completes one precessional Great Year of 25,920 years every 864 of its years, a half cycle
every 432 of its years, a quarter cycle every 216 of its years, and an eighth of a cycle every 108
of its years. This equals (108 x 30) 3240 years, or 45 degrees of precessional arc. We can
continue counting in Saturn years down to 9, one 96th of the precessional year, or 3.75 degrees of
arc and 270 earth years, which brings us to the alignment period of the galactic meridian and the
zenith/nadir axis.
If we note when Saturn fell on a significant marker, such as the galactic center or antipode, then we
can simply count Saturn cycles to mark the span of the Great Precessional Year. In this way, we
could determine that if Saturn fell on the galactic antipode and made a station (since the earth is
moving faster than Saturn, it appears as if it is overtaken, making it appear to stand still in the sky to
mark the moment), then 432 Saturn cycles ago it was making a station at the same location, and
would be doing so again at the completion of 864 Saturn cycles. -Fulcanelli -open internet source.

Stones & Sound
Many ancient sites reflect the number 432 in their alignment to stars and planets and the earths path
through space.
Avebury and Stonehenge for example, yield the numbers 432.
The connection of Stonehenge to the 25,920 year
orbital procession of the equinox and the number 432 is obvious. If you take the first 30 stones in the
outer ring of 360 degrees, divide that by 30 which gives you 12, and then divide 25,920 by 12 you
get 2,160. which is the approximate diameter of the moon.
When you divide the 60 stones in the second circle of 360 degrees by 60 you get 6. 25,920 divided
by 6 equals 4,320. By dividing the 20 stones in the center circle of 360 degrees by 20 you get 18.
25,920 divided by 18 is 1,440.
If the second circle of 60 stones equals 25,920 years then each stone equals 432 years around the
12 sectors of the 25,920 year procession.
The center circle stones would be 20 x 432 which equals 8,640 years The center stone in the center
circle would be divided in half at the time of the equinox making two stones for a total of 20. 1,440 is
one sixth of 8,640.
Again in the numbers of scientific concert pitch we see the numbers 144, 216, 432, 864. The earths
wobble or spiral action gives us our time count of 86,400 seconds in a day and 43,200 seconds in 12
hours. 12 x 60 equals 720, and
2 x 360 equals 720. I must also mention that it takes 72 years for the earth to travel one degree
around the 25,920 year procession of the equinox. Many stone circles have shown that these
precise numbers also foretell of the changing of the poles and their past positions according to
balanced alignment.
Many stone circles were laid down to warn future generations of the
passing of certain orbital astral bodies that from time to time may cause cataclysmic events.
It might surprise many to learn that a highly advanced global civilization built monuments worldwide
to the same ancient code of 72, 108 216 432 864 and that after the fall from the devasation of global
catastrophe, the survivors that had knowledge of the previous ancient ways built markers for future
generations to come. The great year of 25,920 years were carved in stone alignments and temples
all over the earth. For centuries accurate astrological observatories served as classrooms and
places of court and custom. It was in ancient times forbidden to alter session stones and markers
and in some occasions such trespasses carried a death sentence. Those accurate calenders of
astrological time keeping were finally altered by the formation of the first corporation sole known as
the Roman Church. Stones worldwide were destroyed or moved, many vandalised and inscribed
with the cross to convert them to the Roman Church in their lust for power and dominance over the
earth.
Natural time keeping was forbidden by the Roman Church and the stone Norse weoh calendars of
Europe and most of the standing stone circles in greater Britain and Brittany were either cracked,
pulled down or altered by the unlawful ruling despots.
The push to raise concert pitch was also suggested at the congress of Vienna in 1815 by the Tsar
Alexander I and when it fell into obscurity after his assassination (blamed on Jews), it was then
quietly and slowly introduced into the United States By navy-man J.C. Deagan.
Mr Deagan got his start in frequency when he was stationed in
England whilst on active duty and attended a lecture by Hermann Helmholtz, a 19th century German
physicist and physiologist who wrote The Theory of the Sensations of Tone as a Foundation of
Music Theory in 1863. After the lecture, JC Deagan was inspired to create bells and chimes in
440Hz and from marrying into a prominent German cabinet maker family (the Funckes) he procured
the funding and social elite influence to convince the American Federation of Music to change
concert pitch to A=440Hz in 1910. IN 1914 he supplied musician societies and orchestras with
A=440Hz tuning forks. By the 1920s America was slipping away into the purse strings of the
international bankers and the tone control of America became absolute with the passing of A=440Hz
as a standard of concert pitch. Deagan then imported childrens marimbas tuned to A=440Hz from
Germany. During World War II, his call to arms 440Hz chimes were used in war time movie
propaganda reels and still to this day can be heard as the call sign tone icon of NBC broadcasting.
Maria Renolds book Intervals Scales Tones and the Concert Pitch C=128hz claims conclusive
evidence that 440Hz and raising concert pitch above scientific C Prime=128hz (Concert A=432hz)
disassociates the connection of consciousness to the body and creates anti-social conditions in
humanity.
Some audiophiles have also reported that A=432Hz music seems to be
non local and can appear to fill a room, whereas A=440Hz can perceived as directional or linear in
sound propagation.
Raising concert pitch may cause stress or warping of acoustic instruments and may seriously
damage a singers vocal chords according to some professional opera singers. Maria Renolds book
is a wealth of information on not only A=432Hz, C prime 256Hz and 128Hz, but also a new way to
tune instruments to A=432Hz which is the 12 true fifths tuning method (12T5).
This harmonic alternative allows C prime 256Hz to align with A=432Hz whereas other harmonic
intonations do not.
This method is superior to modern Equal Temperament which is the closed circle of tuning that we
are constrained to as musicians. Equal Temperament (ET) was the excuse for musicians to play
consonance, but it actually closes out perceptions to the sensations of tone and resonant harmony.
If we examine the 20th century collective consciousness and the use of A=440Hz with equal
temperament in mass media pushed through radio & television as the British Invasion of Rock &
Roll, we see the potential anti social behaviors and possible dangers of using higher and higher
pitches as central references for music. It is for this very reason that
Just intonation is making a comeback with some composers and after the constrained compromise
of equal temperament since the 1850s onwards, people are seeking purer alternatives to the
harmonic intonations of tunings and Just tuning offers a number of more natural pure harmonics
than the artificial compromise of equal temperament.
This information was well known over a hundred
years ago and Rudolf Steiner warned mankind that using luciferic brightness and arhimanic tones
in music could bring a condensing of greed forces in the west instead of C Prime=128hz (Concert
A=432hz) which he mentioned was Christ consciousness of ascendant energy and angel Micheal
sun tone energy in the collective awareness in the evolution of man.
Although this author does not believe in any religious or occult societies, when you let go of belief,
there is a spiritual connection to nature that everyone born on this planet has by birthright.
As far as consonant music is concerned, the difference between concert pitch A=440Hz and Concert
A=432Hz is only 8 cycles per second, but it is a perceptible difference of awareness in the human
consciousness experience of the dream we share called existence.
The Geometry of 432Hz Frequency
Photo courtesy By: CymaScope
We wondered what the geometry of 432Hz would look like using Cymatics so I contacted John
Stuart Reid, the co-designer of the CymaScope regarding his wonderful invention and the
geometry of the A=432Hz tone.
The CymaScope is the pinnacle of cymatics research and is the concept of John who as an
acoustics engineer, carried out cymatics research in the Kings chamber of the Great Pyramid of
Giza in 1997. The CymaScope is an accurate device that
measures acoustic vibrations of nodal points that form patterns of geometry in different liquid or solid
mediums.
The science of cymatics which is geometry through vibration was researched and published by Dr.
Hans Jenny in 1967, in his book called The Study of Wave Phenomena.
Here is a transcript of Johns correspondence;
432 Hertz pops out as a triangle, every time we image it.
We thought there was something wrong with the CymaScope but after trying for more than an
hour we concluded that the number 3 was somehow universally connected to 432 Hertz.
***
We captured it on video also and it looks like its alive, it writhes and pulsates and refuses to take up
any other form. We researched the reason why it takes up this geometry and it turns out to be an
interesting case:
When A is tuned to 432Hz the frequencies of the other As shift (within a decimal point) to 27 Hz, 54,
108, 216, 864, 1728 in other octaves.
D becomes 576 Hz which becomes 9 Hz, 18, 36, 72, 144, 288, 1152 in other octaves. E becomes
324 Hz which becomes 81 Hz, 162, 648, 1296 in other octaves. All of these frequencies are divisible
by 3
Regards, John Stuart Reid.
John had confirmed with his incredible invention the
CymaScope, what seems to be a scientific interpretation of what our separate observations led us
to conclusion, that there seems to be an intelligent design of effect in the universe. An engineer
called Victor told us last year, that a 53 note scale based on A=432Hz pitch goes less than 1 hertz
difference out of harmonic synchronicity over the entire 53 note scale, most other pitches are out of
sync after only two or three notes up the octave, excited at this observation, the engineer stated that
scales tuned to C=256Hz, A=432Hz is surely the fingerprint evidence of an intelligent creation.
A new quote regarding the amazing properties of 432Hz from John Stuart Reid:
432Hertz is a harmonic of light frequency it speaks or resonates directly with our cells. All cells
communicate with each other via infrared light so I imagine that when they receive music in 432
Hertz they are in joy. The conscious you may not be aware of this, but most of what goes on in our
bodies is sub conscious, thankfully! You can read more about how all sounds create infra red light in
the physics section of our web site CymaScope
432 Hertz truly can be considered a harmonic of light. Sound in air may be defined as the transfer
of periodic movements between adjacent colliding atoms or molecules. This sonic energy typically
expands away from the site of the collisionsat the local speed of soundas a spherical or bubble-
shaped emanation, the surface of which is in a state of radial oscillation. At the point of origin of the
sonic bubble an electromagnetic bubble is created by the collisions between the air molecules,
because each collision creates friction that releases a small amount of infrared electromagnetism.
That magnetism, like the sonic bubble, expands away from source spherically and it is modulated by
the sonic periodicities, in much the same way that an amplitude-modulated radio broadcast consists
of an electromagnetic carrier that is modulated in amplitude by, say, a persons voice frequencies.
Thus, the relationship between sound and light is real and very much part of the way that nature
works. We cannot talk about the 432 Hertz key note without visualising a 432 Hertz-modulated
infrared light bubble Regards-John
***Images copyrighted and courtesy of John Stuart Reid of CymaScope as we are in agreement
with John to display this image under certain copyright conditions, please link back and reference
this page and Cymascope copyright. Thank you