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C-4 1
C-3 2
C-2 4
C-1 8
C0 16
C1 32
C2 64
C3 128
C4 256
C5 512
C6 1,024
C7 2,048
C8 4,096
C9 8,192
C10 16,384
C11 32,768
C12 65,536
Ver pgina (5) 178 del libro fsica fundamental (Victor
Manuel Gonzalez Cabrera. 1971)
Fuente: GONZALEZ CABRERA, Victor Manuel. Fsica fundamental. Editorial
progreso. Ao 1971. Tercera edicin 1996. Mexico. Capitulo 13. Pag 176.
C-4 1
C-3 2
C-2 4
C-1 8
C0 16
C1 32
C2 64
C3 128
C4 256
C5 512
C6 1,024
C7 2,048
C8 4,096
C9 8,192
C10 16,384
C11 32,768
C12 65,536
Scientific pitch, also known as philosophical pitch, Sauveur pitch or Verdi tuning, is an
absolute concert pitch standard which is based on middle C (C4) being set to 256 Hz rather
than 261.62 Hz as in the common A440 pitch standard. It was first proposed in 1713 by
French physicist Joseph Sauveur, promoted briefly by Italian composer Giuseppe Verdi in
the 19th century, then advocated by the Schiller Institute beginning in the 1980s.
Scientific pitch is not used by concert orchestras but is still sometimes favored in scientific
writings for the convenience of all the octaves of C being an exact round number in the
binary system when expressed in hertz (symbol Hz).[1][2] The octaves of C remain a whole
number in Hz all the way down to 1 Hz in both binary and decimal counting systems.[3][4]
Instead of A above middle C (A4) being set to the widely used standard of 440 Hz,
scientific pitch assigns it a frequency of 430.54 Hz.[5] Even though Verdi tuning uses
432 Hz for A4 and not 430.54, it is said by the Schiller Institute to be derived from the same
mathematical basis: 256 Hz for middle C.[6]
History
Concert tuning pitches tended to vary from group to group, and by the 17th century the
pitches had been generally creeping upward (i.e. becoming "sharper"). The French acoustic
physicist Joseph Sauveur, a non-musician, researched musical pitches and determined their
frequencies. He found several frequency values for A4 as presented to him by musicians and
their instruments, with A4 ranging from 405 to 421 Hz. (Other contemporary researchers
such as Christiaan Huygens, Vittorio Francesco Stancari and Brook Taylor were finding
similar and lower values for A4, as low as 383 Hz.) In 1701, Sauveur proposed that all
musical pitches should be based on a son fixe (fixed sound), that is, one unspecified note set
to 100 Hz, from which all others would be derived. In 1713, Sauveur changed his proposal
to one based on C4 set to 256 Hz; this was later called "philosophical pitch" or "Sauveur
pitch". Sauveur's push to standardize a concert pitch was strongly resisted by the musicians
with whom he was working, and the proposed standard was not adopted.[7] The notion was
revived periodically, including by mathematician Sir John Herschel and composer John
Pyke Hullah in the mid-19th century, but never established as a standard.[8]
In the 19th century, Italian composer Giuseppe Verdi tried to stop the increase in pitch to
which orchestras were tuned. In 1874 he wrote his Requiem using the official French
standard diapason normal pitch of A4 tuned to 435 Hz. Later, he indicated that 432 Hz
would be slightly better for orchestras.[9] One solution he proposed was scientific pitch. He
had little success.[10][9]
See also
History of pitch standards in Western music
References
1.
A440=C261,626
A430,54=C256
https://books.google.com.co/books?id=_NG9v8h7-
LIC&pg=PA177&lpg=PA177&dq=frecuencia+256+C+central&s
ource=bl&ots=xnT0h8Ac7A&sig=cQQPpbV0Dalxil-
SA1PeQevAVc0&hl=es&sa=X&ei=nBJJVaPvFJLRggTX7oD4A
Q&redir_esc=y#v=onepage&q=frecuencia%20256%20C
%20central&f=false