Intervals, Scales, Tones and the Concert Pitch C

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Temple Lodge Publishing, 2004 - Musical intervals and scales - 198 pages
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Why is it that certain intervals, scales, and tones sound genuine, while others sound false? Is the modern person able to experience a qualitative difference in a tone's pitch? If so, what are the implications for modern concert pitch and how instruments of fixed tuning are tuned?

Renold tackles these and many other questions and provides a wealth of scientific data. Her pioneering work is the result of a lifetime of research into the Classical Greek origin of Western music and the search for modern developments. She deepens our musical understanding by using Rudolf Steiner's spiritual science as a basis, and she elucidates many of his puzzling statements about music.

The results of her work include the following discoveries:

  • The octave has two sizes (a 'genuine' sounding octave is bigger than the "perfect octave").
  • There are three sizes of "perfect fifths."
  • An underlying "form principle" for all scales can be found.
  • Equal temperament is not the most satisfactory method of tuning a piano.
  • She provides a basis for some of Steiner's statements, such as, "C is always prime," and "C = 128 Hz = Sun."
Here is a valuable resource for those who wish to understand the deeper, spiritual aspects of music.
 

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Contents

Introduction and General Outline
1
Terminology Used for the Different Types of Intervals Tones and Scales
7
The Twelfthtone Row the True Intervals and a Comparison with the Just
13
The Octave and the Harmonic Geometric and Arithmetic Means in Music
19
The Seven Aulos Modes of Ancient Greece
27
Aulos Modes and Just Scales
39
Greek Scale Names
46
The Scale of Twelve Fifths
57
Table
120
The Secret of the Octave Open Fourths and Fifths and Resonating Difference
129
Fig 3
134
A New Method of Tuning the Scale of Twelve Fifths
140
Table
148
Structure of the Newly Tuned Scale of Twelve Fifths
152
Absolute Pitch and c 128 Hz
159
Fig 5
168

The Individual Quality of the Single Tones and Rudolf Steiners Concert Pitch
69
Details of the Inherent Qualities of the Tones C and A c 128 and 130 828
76
The Tones of the Aulos Sun Mode and the Tone c 128 Hz
85
The True C Major Scale and Two Indications Rudolf Steiner Gave to Wilhelm
91
Rudolf Steiners Tone Spiral
104
Table
107
How to 15uild and Use a Monochord
178
Graph 1
182
Addresses of Instrument Makers Known to Us Who Build Instruments
186
Index of Persons
195
Copyright

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About the author (2004)

Maria Renold (1917-2003) spent her childhood in the U.S., where her parents emigrated to establish a eurythmy school in New York. She studied eurythmy and later violin and viola and toured with the Bush Chamber Orchestra and the Bush String Quartet. One of Renold°s deeply-felt questions concerned the correct concert pitch. When she heard of Rudolf Steiner°s concert pitch suggestion of c = 128 Hz, she put it into practice immediately, and experimented with it for many years in both America and Europe. She discovered a new method of tuning the piano, closer to the tuning of stringed instruments, arriving at the concert pitch of a1 = 432 Hz. First published in German in 1985, her book has become a modern classic of musical research.

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