Logic for use of 256 Hz.

I must admit when a coupla days ago, I mentioned 256Hz = C as a
reference, I had not been thinking about integer ratios or
simplifying the arithmetic.
I had approached it from an entirely different "cosmic" direction.
I was thinking about the Earth rotation time of 24 hours; which is
also why I had later referred to the planet's slowing down.

I don't necessarily advocate this "new age woo-woo" logic; yet some
influential "thinkers" have used it along with various astronomical
rotation values
to arrive at their tuning/frequency standards. e.g. Hans Cousto in
"The Cosnic Octave" 1988.

It has also been suggested that the "Om" sound used in some
meditation practices and suggested by some to be the pitch of the
tonic in some Indian music has a similar source, which it has been
suggested to be close to C# in Western terms.

So choose your own "pitch poison"; yet expect that the uninitiated or
naive may have a few problems getting "in tune" with you,
if you want to play anything other than sew low (sp?) soh loh (sp?)
So Lo! -
Enuf of inconsistent standards!
"One man's poisson is another man's tuna"?

I think I've caught the Ivor Darreg word-play bug.
I remember spending about an hour with him one day in a California
diner as he spun a continuous stream of puns and phonetic conundrums.

On 17 Dec 2005, at 14:42, MakeMicroMusic@yahoogroups.com wrote:

> Date: Sat, 17 Dec 2005 09:04:55 -0000
> From: "monz" <monz@...>
> Subject: Re: Why from G? Why not A=440? - & associated thoughts on
> standards.
>
> --- In MakeMicroMusic@yahoogroups.com, "Gene Ward Smith"
> <gwsmith@s...> wrote:
>
>> ... Of course there's always been a certain logic
>> in the popular choice of C=256.
>
>
>
> Since this isn't the tuning-math list, i thought
> i'd point out why you say that.
>
> http://tonalsoft.com/monzo/article/article.htm#reference
>
> If one bases the whole tuning on a very low (actually,
> inaudible) "C" with a frequnecy of 1 Hz -- which makes
> a lot of sense if you want a "C" to be your 1/1 or
> reference pitch -- then the 8th octave above that
> is 2^8 = 256 Hz.
>
> If you make C=256 your 1/1 -- which i like to call n^0
> in the prime-factor notational scheme -- then the entire
> audible range for most humans is encompassed within
> C^-4 to C^+4, which is really beautifully if you like
> symmetry.
>
>
>
>
> -monz
> http://tonalsoft.com
> Tonescape microtonal music software
>

Charles Lucy - lucy@...
------------ Promoting global harmony through LucyTuning -------
for information on LucyTuning go to: http://www.lucytune.com
for LucyTuned Lullabies go to http://www.lullabies.co.uk
Buy/download/CD from: http://www.cdbaby.com/cd/lucytuned2

[Non-text portions of this message have been removed]

It is a shame he didn't write songs for this reason

Charles Lucy wrote:

>
>I think I've caught the Ivor Darreg word-play bug.
>I remember spending about an hour with him one day in a California >diner as he spun a continuous stream of puns and phonetic conundrums.
>
>
>
>
>
> >
> >

--
Kraig Grady
North American Embassy of Anaphoria Island <http://anaphoria.com/>
The Wandering Medicine Show
KXLU <http://www.kxlu.com/main.html> 88.9 FM Wed 8-9 pm Los Angeles

--- In MakeMicroMusic@yahoogroups.com, Charles Lucy <makemicro@l...>
wrote:
>
> I must admit when a coupla days ago, I mentioned 256Hz = C.
> > --- In MakeMicroMusic@yahoogroups.com, "Gene Ward Smith"
> > <gwsmith@s...> wrote:

> > ... Of course there's always been a certain logic
> > in the popular choice of C=256.

> > > http://tonalsoft.com/monzo/article/article.htm#reference
> >
> > If one bases the whole tuning on a very low (actually,
> > inaudible) "C" with a frequnecy of 1 Hz -- which makes
> > a lot of sense if you want a "C" to be your 1/1 or
> > reference pitch -- then the 8th octave above that
> > is 2^8 = 256 Hz.
> >
> > If you make B=513Hz your 1/1....
then one obtains my Werckmeister interpretation concept:
/tuning-math/message/13675

C 2173
G (6561)6560,3280,1640,820,410,205(204,102,51)
D 153(152,76,38,19)
A 57
E 171
B 513(512,256Hz,128,..,1) W:"...one quarter comma above the unity."
F# 3
C# 9
G# 27
Eb 81
Bb 243
F 729
C 2173
referring to the common baroque choir-tone pitch-frequency of a'=456Hz.

A possible chamber-tone a'=420Hz version can be found here:
http://www.strukturbildung.de/Andreas.Sparschuh/