The Campaign To Lower the Tuning Pitch
On April 9, 1988 at a conference on "Music and Classical Aesthetics" sponsored by the Schiller Institute at the Casa Verdi in Milan, Italy, a worldwide campaign was launched to restore the lower tuning pitch of the classical composers from Bach through Verdi, a pitch based on a Middle C of 256 Hz, which in turn is grounded in the physical laws of our universe.

This campaign had been originally inspired by Lyndon H. LaRouche, Jr., whose collaborators uncovered the historical evidence that Giuseppe Verdi, Italy's great composer and nation-builder, had successfully battled to impose a diapason of A=432, based on Middle C=256, as the official tuning of the Italian armed forces in 1884.

The Milan conference heard presentations, among others, from Prof. Bruno Barosi of the Cremona International Institute of Violinmaking, Dr. Jonathan Tennenbaum on the astrophysical basis of the C = 256 tuning, and soprano Renata Tebaldi on the absolute necessity to reverse the tendency toward raising the pitch in performance, in order to save the voices of today's and tomorrow's singers. World-famous Verdi baritone Piero Cappuccilli demonstrated the difference between the Verdi tuning and today's higher pitch by singing two Verdi arias in the two tunings.

In the months following the conference, the movement to return to "Verdi's A" has rapidly gained momentum, and in July, at a press conference in Rome, Senators of the Republic Boggio and Mezzapesa announced they were introducing a law into the Italian Senate to make A=432 the mandatory pitch for all state-subsidized performances and teaching institutions.

On December 12, 1988, Norbert Brainin and Gunter Ludwig performed a concert of works by Bach, Schumann, and Beethoven in the "Verdi Tuning" at the Max-Joseph Saal in the Residenz in Munich, West Germany. This historic concert provided further concrete evidence to back up the campaign for the proposed Italian law.

http://www.amazon.com/exec/obidos/ASIN/0923550399/ref=nosim/healtwealthappi
Healing Codes for the Biological Apocalypse
Leonard G. Horowitz and Joseph Puleo

8X8 = 64 which is the number of squares on a chess board that the Egyptians invented.
There are eight octaves in music and 88 = 8 x 11 keys on a standard regulation size piano.

Evolution of the Gregorian Musical "Solfeggio" (Scale) from Initially Six (6) Notes

The Original Solfeggio
1. Ut - queant laxis
2. Re - sonare fibris
3. Mi - ra gestorum
4. Fa - muli tuorum
5. Sol - ve polluti
6. La -0 biireatum

The Earlier Modified Solfeggio
1. Ut - queant laxis
2. Re - sonare fibris
3. Mi - ra gestorum
4. Fa - muli tuorum
5. Sol - ve polluti
6. La - biireatum
7. SI - Sancto Iohannes

The Current Modified Solfeggio
1. Do - queant laxis
2. Re - sonare fibris
3. Mi - ra gestorum
4. Fa - muli tuorum
5. Sol - ve polluti
6. La - biireatum
7. TI - Sancto Iohannes

The Secret Solfeggio Frequencies: Sound Vibration Rates for Creation and Destruction:

1. Ut = 396 = 9
2. Re = 417 = 3
3. Mi = 528 = 6

4. Fa = 639 = 9
5. Sol = 741 = 3
6. La = 852 = 6

The Book Genesis
Maybe one of the least understood books of the ancient past is the book Genesis, the first book of the Holy Bible. In the last two decades scholars have discovered that this book encodes hidden knowledge that must have been put into it deliberately. Only now at the turn of the second millennium have we reached a level of scientific understanding that allows us to grasp the hidden knowledge in this book.

The biggest secret of creation is hidden in the first sentence of Genesis. In the original Hebrew version of the Bible, Genesis starts with the word
Be-resjiet meaning ‘at first’ or ‘in principle’. It has been translated in modern versions of the Bible into ‘in the beginning’.

Everyone knows the starting phrase of Genesis however few know that the whole essence of creation was put into that first word. We now know thanks to Stan Tenen’s work into the origin and nature of the Hebrew alphabet and Daniel Winter’s additional research into the significance of the Golden Mean spiral, that the sacred Hebrew alphabet was designed with a clear intention to convey the very essence of creation and to teach later generations what the Be-resjiet,the principle of creation really is.

Independently Stan Tenen and Daniel Winter noticed that the characters of the Hebrew alphabet are projections of a ‘special form’ on the faces of a tetrahedron seen from different angles! However it was Daniel Winter who pointed out that this ‘special form’ is actually the Golden Mean or Phi spiral.

The Phi spiral describes the surface of the torus, the basic element of matter. Now if we put the Phi spiral inside a tetrahedron and then slowly revolve it around a pivot axis, and shine a light from behind the Phi spiral, all of the Hebrew characters will show up as the shadows on the inside face of the tetrahedron. Hence, the characters of the Hebrew alphabet are the projections of a Golden Mean spiral.

Stan Tenen called the ‘special form’ in the tetrahedron ‘the flame letter in the tent’.


Flame letter in the tent.
(Courtesy of Dan Winter, http://www.soulinvitation.com)

Now isn’t this amazing, the authors of Genesis quite deliberately wanted to convey this knowledge to future generations. All that was required was that we needed to evolve to a level of scientific understanding and sooner or later the significance of the scripture would be revealed. But what does it mean?
(1)

According to Daniel Winter, the angles needed to project the Phi spiral onto the face of the tetrahedron and create the Hebrew alphabet, are the same angles we need to rotate the doughnut torus such that they can be nested into each other according to the symmetry of the Platonic solids. This is exactly the recipe for constructing matter from torus shapes as described in the chapter 6 ‘Ether Vibrations’, paragraph ‘Implosion Physics’!

Even more remarkable is the fact that when the actual Hebrew character is pronounced out loud, it will take on the shape of the character. Both Stan Tenen and Dr. Hans Jenny (Cymatics) independently indicated this fact. Hans Jenny recorded the vocal expression of the letter on a plate of sand. The vibrations in the voice pronouncing the Hebrew letter caused the sand grains to take on the actual shape of the Hebrew character!

Obviously this hi-tech knowledge has been deliberately preserved in the Bible for future generations to discover. The Hebrew alphabet is a manual for creating matter; it is a sacred language that has been intentionally designed. The third book of the Kabbalah the ‘Sephir Yitzirah’ mentions the story of God taking letters from the alphabet to create the world. For centuries we have ridiculed this idea and believed it to be a myth, but only now that we have reached scientific maturity we marvel at these words, as indeed the Hebrew alphabet seems to be the blueprint of matter.

Maybe it's a plot to keep us away from the important frequencies!

i was born on 08-18-1988 in hospital bed 8 and weighed 8 1/2 lbs (8 lbs, 8oz) @ 2:08 in the morning.

More importantly, your decimal Pythagorean number is also 8:
1+9+8+8=26, 2+6=8.

I like the mathematical precision of synths and I really like some electronic music (including yours, Claw), but I really love getting down and dirty with slightly out-of-tune imperfection and the rich, complex harmonic series generated by good old analog randomness.

My studio partner has built a midi-controlled pipe organ (best of both worlds!). It's impossible to get it perfectly in tune and that makes it sound really wonderful.

It's funny, I think the best music walks the fine line between order and chaos.

very interesting!
thanks.....
anything else? lol