Universal Harmonic Frequencies and 432 Hz

The most important thing in music are the intervals, the ratio of each note, the distances between the notes. The knowledge of these ratio’s has been introduced to the West by Pythagoras.(who was educated in the Egyptian mystery schools). The knowledge of these mystery schools is very advanced and was never open to the general public. The purpose of a mystery school in ancient times and in this time is to pass on very advanced knowledge form generation to generation by a small group of initiates.

In this time it is possible that this kind of knowledge is being made available to the public, because the collective consciousness is increasingly becoming more open to it. The only problem is that whenit is made public, it will be distorted and simplified. That’s the reason there are many vague stories about retuning to 432Hz. So let me explain in full the story about 432 Hz.


(It is very important that if you want to experiment with A = 432 Hz that you also retune your tonal scale to a Pythagorean scale instead of using the Equal temperament scale which is now the most common scale.)

What makes music in tune with the universe? That is the pure harmonic ratio of each note, the harmonically and mathematically pure relations between the notes.

(what is a relation?
for example: frequency x relates to frequency y in a ratio of 9/8 will make i.e. x = 432Hz and y = 486Hz.)

Sound occurs naturally, in simple integer ratios and can be constructed from the powers of 2 and 3 (and 5). (Pythagoras) From this data you can construct a musical scale. Sound does not ‘accidentally’ occur in this manner, it is ruled by certain cosmic laws, the same cosmic laws that are responsible for the entire experience of this reality. Everything in the universe is frequency and relation. (Nada Brahma)

To create a twelve tonic musical scale based on the powers of 2 and 3 we will give you the following:

ratio:      1/1  |  256/243  |      9/8       |    32/27    |     81/64   |      4/3      |   729/512  |      3/2

power:               2_8/3_5  |  3_2/2_3  |  2_5/3_3  |  3_4/2_6  |  2_2/3_1  |  3_6/2_9   |  3_1/2_1

ratio:                  128/81     |     27/16     |       16/9      |    243/128

power:               2_7/3_4   |   3_3/2_4    |   2_4/3_2   |    3_5/2_7

So where does 432 Hz come from?

What is the beginning of everything in the universe and where do we all go to eventually? To unity, oneness. So we start with 1 Hz.
From this reference point we are going to construct our musical scale: First in octaves: 1 2 4 8 16 32 64 128 256 512 etc.. These are our first reference points, we will take 256 Hz as C and place our harmonically pure ratios from that point:

C: 256 C#: 270 D: 288 Eb: 303 E: 324 F: 341 F#: 364 G: 384 G#: 405 A:432 Bb: 455 B: 486 C: 512 etc..

This gives a musical scale that is completely harmonically pure, which means the overtones are completely pure and do not cancel each other out. Which does occur in the equal temperament scale, because it is artificially divided in equal steps in the octave. In nature sound will always behave in a harmonic way, it is the limited human mind that has created the artificial musical scale called equal temperament.

The Pythagorean scale, as it is called, was used for a long time but was replaced by other scales because the thirds weren’t pure. This is because of the Pythagorean comma, when you go up 7 octaves and 12 fifths you would in theory arrive at the same frequency. In the Pythagorean scale this is not the case, there is a small difference between the 12 fifths and the 7 octaves called the Pythagorean comma.That’s the reason why we now use the equal temperament scale in which the Pythagorean comma was ripped to shreds and divided amongst the scale. Which causes to make all the ratios of the whole tuning evenly harmonically unpure, so that you would not have to retune your instrument when playing in a different tonal scale.

The equal temperament scale causes the circle of fifths and the 7 octaves to be a perfect circle. The initiates know just as the masses are now beginning to learn, that al movements in the universe goes in cycles, in a spiral upwards and do not go in a circle (else we would beforever stuck). The Pythagorean comma is not a ‘mistake’ of nature, it is the arrogance of the Western thinking that has called this a mistake and tried to solve it. The Pythagorean comma is what makes the music ‘cosmic’, it will let the overtones transcend infinitely.

In ancient India the Yogis found by means of meditation and intuition the tone of the universe, the ‘Ohm’ tone. In this time we can calculate orbits and frequencies. When taking the orbit of the Earth around the Sun we come at a frequency which exactly matches the frequency of the ancient sacred temple bells found all over India, this frequency is 136 Hz and is part of the pure musical scale which makes it harmonically connected to 432 Hz.

We now can overcome all the musical difficulties of the Pythagorean scale.

In this time music has another structure, new ways of making music which i.e. do not need frequent changes of the tonic in a song. Also the computer has provided for a whole new way of creating and performing music in which we can easily overcome the difficulties the people from the past encountered with the harmonically pure Pythagorean scale.

The time has come for pure frequency music, we can now with mathematically precision compose music in this system and we are continually exploring the possibilities it provides. We are in the process of researching the effects of the tuning systems and frequencies we use, as well as researching the endless possibilities of the influence of sound on the brain and organs.

by Daniel Schotsborg

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