The number 1 appears in all cultures as a source that contains in germ the latent qualities of all possible planes of being. Rudolf Steiner, it seems he said C=256 Hz, which is actually the same in frequency, because 256 Hz is an octave of 128 Hz. They didn’t think of it and they didn’t have a computer with Excel spreadsheets. And it wasn’t Maria Renold’s intention at all. That came about because I calculated the world of musical frequencies mathematically and physically from the ground up. I knew 128 hertz before I found out that frequency played a role in Maria Renold and Rudolf Steiner. How did this term come about, what is the history? Read here! Cosmo Welfare C=128 Hertz Well, you can see that the term concert pitch doesn’t just stand for a frequency. Then there is the Pythagorean tuning, where these two chamber tones also occur.Īnd then there is just intonation with a reference frequency of 15 hertz . It works like this: she developed a scale called THE SCALE OF FIFTHS or Maria Renold tuning.Īnd that’s where these two frequencies come in. ![]() ![]() In the mainstream, this tone has a frequency of 440 hertz. It’s different with Maria Renold: this middle A (A4 in keyboard German) has a frequency of 432 Hz.īut it’s not her concert pitch. Or is it? Yes, yes, it is also her concert pitch. It has two: 128 Hertz (C3) and 432 Hertz (A4). ![]() The concert pitch, also called tuning pitch and normal pitch, is a pitch defined as a common reference point to which the instruments of a music group are tuned at the same pitch. The pitch of the commonly used concert pitch A is middle A (a′ also a1) according to multiple definitions in music history today.
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