432 DNA Tuning & the “Nazi-ization” of Music

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Brendan D. Murphy

GA=440Hz: Not Quite Music to My Ears


In modern history in particular, there has been what Dr. Len Horowitz has referred to as the strategic “militarization” of music. This happened in 1939 when the tuning of the note “A above Middle C” to 440 Hz was adopted in the world of music. In 1910 an earlier push to effect the same change was met with limited success.


The American Federation of Musicians had already accepted the A440 as standard pitch in 1917, and the US government followed suit in 1920. [ii] One must surely ask why Nazi propaganda minister, Joseph Goebbels, argued for this odd intrusion into musical creativity, persuading Hitler’s supposed enemies in Britain to adopt this “superior” standard tuning for the “Aryan/Master Race.” What did the Nazis (and their secretive but well-documented US financiers) have to gain from this?

It is interesting also to note that in October 1953, despite the British and Nazi push for the arbitrary A=440 standard (which is “disharmonic” vis-à-vis the physico-acoustic laws of creation governing reality), a referendum of 23,000 French musicians voted overwhelmingly in favor of A=432Hz. [iii] Many, many musicians in recent centuries have expressed their strong preference for the A=432 reference pitch.


The Vibration of Sound


Sell Art OnlineInterestingly, the difference between 440 and 741 Hz is known in musicology as the Devil’s Interval.


Ancient Egyptian and Greek instruments have reportedly been found to be tuned to 432 Hz. As far as many guitarists are concerned, A=432 Hz seems to be the most practical, optimal, and bio-friendly resonant tuning we have, although many musicians have also favored A=444. (A=444 Hz belongs to a different scale, where C=528 Hz.)


Cochlear-300x239According to Chas Stoddard in A SHORT HISTORY OF TUNING & TEMPERAMENT, this fractality/recursiveness allows octaves to be decoded at the same point in each layer of the spiral, and may therefore be why we can discern octaves at all. (In other words, without this cochlea design, we would just hear pitch rising or lowering and would not be able to identify that, for example, 256 Hz is C or that 512 Hz us also C). [vii] The octave concept would be almost meaningless and sonically undetectable to us.





Most definitely, the Solfeggio C at 528 Hz facilitates people’s unplugging from the Matrix. This note is widely associated with DNA activation, repair, and human transformation. For more on this topic, please see my article, Diary of a Potentiator: How 528 Hertz Was Music to My Ears.

Note the visible light spectrum and color wavelengths (below). Look for 528 and notice where you land: in the region of the “green ray,” esoterically speaking. The higher harmonic of the green ray/frequency is absorbed and metabolized by the heart chakra vortex. It is no coincidence that the wavelength of visible light at 528 nm is also green. The one is a harmonic of the other.


FrequenciesMaria Renold, in her book INTERVALS, SCALES, TONES & THE CONCERT PITCH C=128HZ, claims conclusive evidence that A=440Hz tuning (above scientific “C” Prime=128/256/512 Hz, where A=432 Hz) “disassociates the connection of consciousness to the body and creates anti-social conditions in humanity.”


Many people appear to endorse the view that, while A=440 music is more exciting (or aggressive, for some), it is more mind-oriented and disconnected from the human feeling centers, particularly the heart (which has by far the largest EM field of all bodily organs, including the brain, which it can actually entrain).

Disconnecting the heart from the brain is—as history (and our present condition) shows us—catastrophic on a planetary scale. This is the case for many reasons, but fundamentally, the heart-brain separation disconnects us from our innate wisdom and compassion as sentient beings, thus disconnecting us from each other and the other intelligent beings we share this planet with (not to mention the planet itself, which is a living intelligence).

Ancient tuning practices employed the “Just Intonation” system of tuning. It featured “pure intervals between every note that were mathematically related by ratios of small whole numbers leading to a much purer sound.” From about the 16th century onward, “Twelve-Tone Equal Temperament” tuning, according to Joachim Ernst-Berendt, commenced the mistuning of all consonant intervals except the octave. [ix]

As a guitarist who writes music primarily on an electric guitar, I prefer to tune up to A=444/C=528 rather than further down-tuning to 432. (I already drop a full step down on the electric and one of my acoustics and don’t want to lower string tension any further). 528 Hz derives from the ancient Solfeggio scale, as re-discovered by Dr. Joseph Puleo, co-researcher and -author with Dr. Len Horowitz of the well-documented and controversial book, HEALING CODES FOR THE BIOLOGICAL APOCALYPSE.

At A=444 I can feel the resonance almost on a cellular level—the vibrations go right through me, and the guitar feels almost like a part of me. The tone is beautiful, bright, and highly resonant. This is not the case when I use 440 Hz (standard Western tuning). Electric guitars, lacking a resonant cavity, don’t make the distinction as easy; however, that doesn’t mean that our cells don’t appreciate the subtle difference.

The Curious Case of 432

We see an interesting relationship between 432 and the number of completion arising as we examine the material below. The numbers suggest that the “universal” or solar constant of 432 has to do with the “completion” (or completeness) of the manifest material world.

Diameter of sun = 864,000 miles (432 x 2)







Perhaps this is to do with 432 squared—186,624 (1+8+6+6+2+4 = 9)—being within one percent accuracy of the speed of light (186,282 miles per second, which also resolves to a 9). The square root of the measured speed of light is 431.6. By deductive reasoning, we might speculate that “notes tuned relative to A432 harmonize directly with the light body [auric fields] allowing the vibrations to penetrate, and through entrainment, bring your energetic essence into balance. Entrainment is the tendency for a strong vibration to influence a weaker vibration.”[xi]





C#=544 Hz, NOT 554 Hz (A Breakthrough that Didnt Quite Break through)





Because this process involves infrared light—not sound—frequencies, huge numbers (megahertz) were obtained, that, if translated directly into hertz would be far beyond human hearing (and thus useless for creating a musical composition, as intended). Deamer and Alexjander recognized that if they were to halve the numbers they were getting, and keep halving (decreasing them by octaves at a time) until the number fell within the audible range of sound frequencies, they would end up with the same notes only at much lower (audible) octaves. Each DNA base yielded 15-18 notes; 60 in all. Interestingly, it appears that none of the bases emitted an A#. This was the only note of the diatonic scale missing.


This presented Alexjander with a formidable challenge regarding creating musical compositions out of these tightly-packed clusters of DNA base notes. At first, there was no seeming organization or order to what she was seeing or hearing when experimenting with the 60 different microtonal DNA notes on her synth.


Adenine: 545.6 Hz

Guanine: 550

Thymine: 543.4

Cytosine: 537.8

Average DNA Hz = 544.2


You see, in today’s bastardized standard tuning (Equal Temperament), C#=554 Hz/A=440 and C=523. Look carefully at the frequency values of each DNA base above and you see that all four are fairly close to being tuned to this standard tuning (where A=440, the “Nazi tuning”).


What made my jaw drop was not that the four DNA bases’ tuning averaged 544 Hz, fairly close to standard tuning where C#=554 Hz (a discrepancy of only 10 Hz). Rather, it was the fact that when A=432 Hz, as in the ancient Just Intonation tuning system based on nature, C# is precisely 544 Hz—exactly what emerged as the dominant, central, “organizing” DNA base frequency in Alexjander and Deamer’s research! Astonishingly, Alexjander and Deemer apparently missed this crucial correlation.


Now we are seeing a real basis for precisely why sound healing works—on every level of our being. It is a harmonic rule that whatever octave you are toning at, it will automatically resonate the other octaves of that note. Even if you are toning vocally within the limited human vocal (or hearing) range, and you are toning into a chakra, if you have selected the “right” note, it can and will correct cymatic deformations in that chakra, even though the magnetic vortex of the chakra will be spinning at a frequency (and harnessing light at frequencies) far beyond the range of regular sense perception (visibility).

The law of harmonic resonance means that you immediately affect light/matter on many octaves of the same note simultaneously. Because sound (vibration) organizes light/matter into form, it is potentially the most potent tool in a healer’s arsenal.

Sound does strange and exotic things other tools cannot. “Junk” DNA, for example, responds to sound. Codons can be turned on or off using acoustic vibrations. Our cell membranes (which are the “brains” of the cells) have antennae that can detect sound vibrations and pass them into the cellular matrix.

According to clairvoyant Barbara Brennan, a former physicist and founder of the Barbara Brennan School of Healing, when she uses her voice in this way for healing chakra deformities, the chakra stands up and spins correctly almost immediately. Once the chakra is corrected on the first/etheric level, it only takes a few seconds to become the correct color on the second level (emotional body) of the field. [xv]



cells-297x300Lipton’s material illustrates something about the mechanisms involved in epigenetic change, in this case epigenetic shifts triggered by sound. “Toning,” as channeller Barbara Marciniak has been informed by her apparently interdimensional Pleiadian muses, “is a key to releasing stored knowledge. It unlocks a doorway and allows information to flood into your body … [I]n a very subtle way, it changes your perceptions.” [xvii]


We are nonlocally and gravitationally connected to the resonant frequencies of the cosmos. No one stands alone “outside” of the cosmos or cut off from everything (though one may feel like that at times). We’re all part of this huge resonant system, participating in dynamic feedback loops with intelligent subsystems such as the sun, moon, earth. Our sense of separation is strictly a brain-based “grand illusion.”


[i] Len Horowitz, “Musical Cult Control,” http://www.medicalveritas.org/MedicalVeritas/Musical_Cult_Control.html

[ii] Gary Meisner, http://www.goldennumber.net/music/

[iii] Mark Brewer, “Music of the Spheres: A Case for A=432Hz,” http://markbrewerharpist.com/blog/2013/02/music-of-the-spheres-a-case-for-a432hz/

[iv] THE SECRET BEHIND 432HERTZ TUNING, http://attunedvibrations.com/432hz-healing/

[v] Horowitz, op. cit.

[vii] Brian, T. Collins, “The Importance of 432Hz Music,” http://omega432.com/432-music/the-importance-of-432hz-music

[viii] Ibid.

[ix] Karol Jankowiak, “Solfeggio Frequencies Set Body into Full Harmony,” http://www.wakingtimes.com/2014/02/01/solfeggio-frequencies-set-body-into-full-harmony/

[x] http://www.mythsdreamssymbols.com/432.html

[xi] Brewer, op. cit.

[xii] Ibid.

[xiii] Susan Alexjander, THE INFRARED FREQUENCIES OF DNA BASES, AS SCIENCE & ART, http://www.oursounduniverse.com/articles/IEEE.html

[xiv] Dameon Keller, http://dameonkeller.wix.com/esotericartschicago#!sound-&-vibration-and-color-&-light

[xv] See Brennan, HANDS OF LIGHT, Bantam, 1988.

[xvi] Bruce Lipton, THE BIOLOGY OF BELIEF, 2005

[xvii] Marciniak, EARTH, 68-9.

Copyright © Brendan D. Murphy. All Rights Reserved.


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