18.04.2017

“Musical education is the most powerful weapon, because rhythm and harmonypenetrate into the innermost depths of the human soul".
Ancient Greek manuscripts

Man is a cell of a huge Universal organism and is involved in many rhythmic processes, both internal and external, including those related to our planet. All of them invisibly accompany a person from the moment of conception throughout his life, promoting adaptation to constantly changing external conditions. A measure of the stability of a person as a single biological system is the stability of his internal rhythms and their compliance with the principles of universal harmony, which can be ensured by synchronization with external master rhythms. Synchronization with them ensures structural, energetic and informational homeostasis of all subsystems of the human body, which is one of the most important conditions maintaining an optimal level of biorhythmic adaptation and maintaining human health in general.

Since a person is a complex self-oscillatory wave system based on the continuous interaction of many internal phase-coordinated rhythms, a violation of the correct flow of rhythmic processes in any of the links of this system inevitably entails the introduction of imbalance and mismatch in the coordinated work of the whole organism. Any imbalance is one of the causes of the development of diseases, therefore maintaining proper balance between internal and external rhythms is one of the urgent tasks of great practical importance for humans.

To solve such a problem, it is very convenient to use the acoustic type of influence, since the change in the internal parameters of the body is determined by the frequency, and not the type of the influencing field. On this basis, sound, thanks to its resonant interaction with the wave processes inherent in humans, can be used as a tool for attunement and maintaining optimal homeostasis of the human body. This explains why, since ancient times, all cultures of the world, without exception, have used sound to carry out one or another effect on a person, as well as to perform various practices with the aim of transforming consciousness.

It remains only to find out which sounds are best used to solve such problems and which system of organizing sounds in height is most optimal both for human perception and for tuning musical instruments, so that the musical-acoustic effect can have a beneficial effect on the human body .

Any musical system is based on a precisely defined pitch of a sound, according to which musical instruments are tuned. To reproduce the sound of the reference pitch, they use a tuning fork, which was invented in 1711 by a court trumpeter Queen of England Elizabeth by John Shore.

Reference

Fork (German: Kammerton, from Kammer - room and Ton - sound) - a sound source, which is a curved metal piece fixed in the middle. a rod whose ends can oscillate freely. Serves as a reference height when tuning music. instruments and singing.
"Musical Encyclopedia" Ch. ed. Yu. V. Keldysh - M.: Soviet Encyclopedia: Soviet composer, 1973-1982

It is interesting that since the invention of the tuning fork, its frequency has changed several times and could differ significantly from the currently accepted standard, up to a whole tone, depending on the purpose for which it was used. Thus, one frequency could be used to tune a choir, another to tune an organ, a third to perform ancient music, academic music fourth, etc. Here are examples of some frequencies to which tuning forks were tuned at different times, given by Nikolai Aleksandrovich Garbuzov, doctor of art history, acoustician and musicologist:

419.9 Hz - the frequency of the very first tuning fork, invented by John Shore, 1711;

422.5 Hz is the frequency of the tuning fork used by George Frideric Handel, 1741;

423.2 Hz - tuning fork frequency in Weber's time, ca. 1815;

435 Hz - frequency of the tuning fork in the Dresden Opera, 1826;

453 Hz - frequency of the tuning fork at the Paris Opera, 1841;

456 Hz - tuning fork frequency Vienna Opera, OK. 1841;

435 Hz - adopted as the International Standard at a conference in Vienna, 1885;

439 Hz - tuning fork frequency in England;
440 Hz - frequency adopted by the US National Bureau of Standards, 1825.

No written evidence or mentions have been preserved that one or another frequency of tuning a tuning fork is more correct, based on some theoretical treatise or ancient source, has not been preserved, so it can be assumed that such a significant spread in frequencies for tuning a tuning fork was most likely caused by an unconscious the choice of musicians related to the characteristics of musical instruments and convenience for performers.

At the same time, the above tuning fork frequencies are close to the octave images of the frequencies of the sidereal or synodic periods of revolution of the planets, which can hardly be considered a coincidence, as noted by Vladimir Grigorievich Budanov, the author of the original method of rhythmic cascades, used to describe the development of complex systems and the synergetic theory harmony.

Thus, the frequency of the first tuning fork proposed by Shore - 419.9 Hz, coincides with the synodic frequency of the Moon with an accuracy of 0.3% (5 cents). In 1741, Handel used a frequency of 422.5 Hz, which is within 0.05% (0.8 cents) of Neptune's sidereal frequency. Weber used 423.2 Hz, which differs from Neptune's frequency by only 4 cents. The tuning fork used in the Dresden Opera, tuned to 435 Hz, coincided with the pulsation frequency of the Solar magnetosphere with an accuracy of 7 cents. In 1841, the Paris Opera adopted a frequency of 453 Hz, and the Vienna Opera adopted 456 Hz, which differs by no more than 5 cents from the sidereal period of the Moon and the average period of the day of the Sun. It is interesting that an error of 5 cents when distinguishing the height of two close frequencies, reproduced sequentially one after another, is not heard by an ordinary musician, and an error of 10 cents is not distinguished by the average listener.

Reference

Sidereal period - the period of time during which a celestial body makes a full revolution around the main body in relation to distant stars (heliosystem).
Synodic period - time interval between two consecutive connections celestial body when observed from the Earth (geosystem).

Currently, the standard for tuning a tuning fork is the note A4 (A of the 1st octave) with a sound frequency of 440 Hz. This standard was established at the London Standardization Conference (ISA) in 1939 and approved by the International Organization for Standardization (ISO) in 1953. The standard was subsequently confirmed by the same organization in 1975 under the number ISO 16:1975.

However, despite the approved standard for tuning a tuning fork, other opinions can still be found regarding the frequency of its tuning. In particular, there are supporters of tuning musical instruments to a frequency of 432 Hz and some other frequencies, which they claim were used during the Middle Ages and even antiquity. However, due to the lack of conclusive evidence or substantiation of such claims, all of them cannot be taken seriously. The above applies equally to the standard for tuning a tuning fork at a frequency of 440 Hz, approved in 1939, since no arguments or calculations are given in favor of why this particular frequency should be the standard for tuning a tuning fork; in any case, such arguments cannot be found managed.

As a result, the question naturally arises - what should be the tuning frequency of the tuning fork so that the musical-acoustic effect can help restore a person’s lost balance, harmony and healing from illnesses, having a positive effect on the human body as a whole? Can such a frequency be justified and calculated mathematically?

In order to be able to answer such questions, it is necessary to move from the general to the specific, relying on rhythmic processes that are significant for humans, in which each of us is invisibly involved. Since the Earth is our home, among the many external rhythms in which a person is involved, the most significant are the rhythms associated with our Earth - these are the daily and annual rhythms. It is these two basic units - the day and the year - that are naturally offered to us by Nature itself.

Indeed, in accordance with the daily rhythm, the regime of wakefulness and sleep, work and rest alternates, continuous changes occur at the micro level and at the level of various organs and systems of the human body: blood pressure, respiratory rate, body temperature, performance, etc. change.

The annual rhythm invisibly influences the course of biosphere processes on the planet, according to which seasonal changes in climatic conditions occur, structural restructuring of the development processes of all living systems, changes in the seasonal activity of organs, regulation of adaptation processes, maintenance of homeostasis and dynamic balance, changes in the level of mental excitability, photosensitivity of the eyes, etc.

An obvious confirmation of the practical significance for humans of the daily and annual rhythms of the Earth, among other other external rhythms, is the creation and widespread use by humans of various devices and objects since ancient times.

First, as examples, let's look at several tools whose use is related to the circadian rhythm. To determine the current time of day and measure the duration of time intervals, sundials were used in ancient times. Figure 1 shows a sundial discovered in Egypt by scientists from the University of Basel at the entrance to one of the tombs of the Valley of the Kings, whose age is estimated at 3300 years. The clock is a limestone disk the size of a saucer. A recess in the center of the disk served to fix a wooden or metal rod, the shadow of which made it possible to find out the time.

Figure 2 shows a stone sundial that was found at the beginning of the last century near the settlement of Madain Salih ( ancient name Hegra) in Saudi Arabia. Their age is estimated at at least 2500 years. Currently, this sundial is kept in the Istanbul Archaeological Museum, in the collection of the Museum of the Ancient East.

Currently, in order to determine the current time of day, mechanical or Digital Watch(Fig.3).

Fig.1	Fig.2	Fig.3

As for the annual rhythm, in order to be able to fit a person’s own rhythm of life into the annual rhythm, a calendar is needed. A calendar is an orderly system of counting days that must take into account annual periodicity natural phenomena. With the help of a calendar, it is possible to divide the year into convenient periodic time intervals, which allows you to record important events for a person and measure various time intervals. The calendar, as a planning tool, has a huge practical value for farmers and business people, with its help you can also, at the right time, attune internal biorhythms with the most important external rhythms for a person, as well as solve many other problems.

Linking to key dates associated with the annual rhythm, which were important for the ancients - the winter and summer solstices and the spring and autumn equinoxes, was carried out in ancient times using structures and calendars of various types that were specially oriented to the area.

As an example, consider the megalithic complex of Newgrange in Ireland, whose age is estimated at approximately 5-6 thousand years (Fig. 4). Its peculiarity is that inside this complex there is a narrow stone corridor, which is oriented to the southeast, exactly at the place of sunrise on the day of the winter solstice, therefore only in the period from December 19 to 23 the rays of the rising Sun can penetrate into the stone corridor through a small a window located above the entrance and illuminate the inner chamber at the end of the corridor.

Another interesting example of structures that were used to link to the most important dates during the year is the step pyramid of Kukulcan, located on the Yucatan Peninsula, Mexico. On the days of the spring and autumn equinoxes, at approximately three o'clock in the afternoon, the rays of the Sun illuminate the western balustrade of the main staircase of the pyramid in such a way that light and shadow form an image of seven isosceles triangles that make up the body of a thirty-seven-meter snake, “creeping” as the Sun moves towards its own head, carved into the base of the stairs. On the days of the winter and summer solstice, the pyramid divides light and shadow exactly in half (Fig. 5).

Figure 6 shows a 12-month calendar on a stone slab found in Rome. In the center of the calendar there are images of the zodiac signs, and on the right and left - the designations of the numbers of the months. At the top of the calendar there are figures of gods to whom the days of the week are dedicated.

Fig.4	Fig.5	Fig.6

Life in accordance with the octave images of the rhythms of the earthly year and day is natural and organic for people living in direct contact with nature, due to which a person becomes likened and merges with nature through its rhythm, realizing anthropocosmic unity.

Thus, the Bushmen from the Kalahari Desert celebrate the honey badger festival, which lasts several days. French anthropologists were struck by the ultra-high stability of the rhythm - 0.641 seconds, which coincides with the octave rhythm of the earth's day with an accuracy of 3% (in rhythms such inaccuracy is indistinguishable an ordinary person). In the monastery of the city of Dharamsala(Dharamsala) in northern India,in ritual chants a constant rhythm is observed 0.472 sec, which coincides with the annual rhythm of the Earth with an accuracy of 0.4%. In Nepal, during the worship of the Newari caste, one rhythm of a period of 0.471 seconds coincides with the frequency of the annual rhythm of the Earth with an accuracy of 0.1%. Another rhythm of 0.325 sec coincides with an accuracy of 1.3% with the frequency of the earth's day.

The above examples indicate that people have known since ancient times about the importance of synchronizing their own rhythm of life with the rhythms of the Earth:

1. with a circadian rhythm;
2. with an annual rhythm.

Since the daily rhythm occurs against the background of the annual rhythm, the annual rhythm is the most important for humans. Hence,

To determine the frequency of a tuning fork, you must first calculate the frequency of the Earth's annual rhythm. The frequency of the Earth's annual rhythm is determined based on the duration of the sidereal year (sidereal period of revolution), this is the period of time during which the Earth makes a full revolution around the Sun relative to the stars, rounded: 365 days, 6 hours, 9 minutes, 9.98 seconds and is 3 .16 ×10 -8 Hz. This frequency is too low and therefore inaudible to humans.

However, using the octave principle, it is possible, by sequentially multiplying the resulting frequency by powers of two, to obtain the frequency of the Earth’s annual rhythm, resonantly associated with it, but already audible to humans. Therefore, raising the resulting frequency by 32 octaves, we obtain a frequency resonantly associated with it, but already audible to humans 136.096 Hz(rounded 136.1 Hz), which is close to the note “C-sharp” of the small octave of the musical system scale (138.59 Hz).

Reference

Octave principle - one of the fundamental principles, thanks to which it is possible, by increasing or decreasing frequencies, to connect together objects on different spatio-temporal scales. Using the octave principle, by sequentially multiplying the original frequency by powers of two, you can transform an inaudible frequency into an audible one, resonantly related to the original frequency.

The use of an acoustic type of influence allows, thanks to the phenomenon of resonance, to have a pronounced and multilateral effect on almost all functions in the human body (blood circulation, digestion, respiration, internal secretion, activity nervous system, brain, etc.), as well as on the emotional sphere and spiritual development.

Our Ancestors knew about this, so Such sounds, resonantly associated with frequencies significant for humans, were considered sacred because with their help it is possible to maintain vital energy, transform a person’s inner world and influence external reality.

The sound associated with the annual rhythm of the Earth has been known since ancient times. In India, for example, there was a doctrine about the highest sound “Nada-Brahman”, which is the embryo of the entire universe. In its primary state it is not manifested, then it unfolds into visible world, representing vibrations of one or another height. In Indian music, this is a very important bass tone, which is called "sadja" or "father to others", and it is the leitmotif of the entire piece of music.

Another example of the use of this sound, considered the most sacred sound in the Hindu and Vedic traditions, is the ancient tradition of chanting the mantra “OM”. According to the Vedic heritage, it is believed that the sound “OM” was the first one that gave rise to the Universe we perceive, therefore it is pronounced at the beginning sacred texts, mantras and meditations.

When chanting the “OM” mantra, the human body is reconfigured, the mind becomes clearer, obstacles to spiritual growth are eliminated, the person naturally opens up and through the experience of such a state gets the opportunity to gain a new experience for himself. “Those who thirst for enlightenment should ponder the sound and meaning of OM” (Dhyanbindu Upanishad).

Wherein great importance has not only the mantra “OM” itself, its vibrational characteristics and the inner mental state of the performer, but also the correctness of its vocal performance. Only if this condition is met is it possible to achieve a real healing effect on the human body, therefore, all those who want to learn how to correctly chant the “OM” mantra must either find a real Teacher, a bearer of the Tradition, who could teach how to perform it correctly, or you can visit an exhibition the “Bells of Rus'” hall in Sergiev Posad, where the “Voice of the Earth” bass beat is located, precisely tuned to the frequency of the sacred sound “OM” (Fig. 7).

The bass beater “Voice of the Earth” is an instrument that is easy to use and amazing in its capabilities. With its help, you can not only learn the correct vocal performance of the “OM” mantra, but also solve a wide range of problems, including both restoring human health and providing real assistance to all those who have chosen for themselves the Path of self-development, revealing existing potential, transforming themselves and the surrounding world.

The world around us is fundamentally simple, beautiful and harmonious. The harmony of the Universe is expressed primarily in the octave, musical organization its structures. The principle of octave similarity, discovered in ancient times, that is, the fractality of the frequency axis, transferred to the entire Universe, states the presence in it of the defining main principle of the development of matter, not only and not so much as mechanical movement, but as an information process that preserves structure (information).

Since for a person the most significant sound is associated with the annual rhythm of the Earth, which is in the interval between the notes “C” and “C-sharp”, then the octave begins with the note “C” - a musical interval in which the frequency ratio between sounds is two to one, that is, the upper sound has twice the frequency of vibrations than the lower sound.

Accordingly, if we raise the known frequency of the annual rhythm of the Earth by 33 octaves, we will obtain an octave image of the frequency resonantly associated with it at the level of the first octave 272.19 Hz, and twice the frequency will be 544.38 Hz, which will be an octave whose frequencies are resonantly related to the annual rhythm of the Earth.

One can note a certain proximity of the currently accepted frequency range of the musical system to the range of frequencies resonantly associated with the annual rhythm of the Earth. If we consider as an example the first octave of the musical system, which includes sounds with frequencies from 261.63 Hz to 523.25 Hz, then in comparison with the range of frequencies resonantly associated with the annual rhythm of the Earth - from 272.19 Hz to 544, 38 Hz, the difference will be 10.56 Hz and 21.13 Hz, respectively.

Such a large difference in frequencies does not allow the listener to synchronize with the annual rhythm of the Earth, therefore the currently accepted scale of the musical system is not capable of having the proper positive effect on human health. Since what is of interest to us is the achievement positive effect on human health when providing musical-acoustic effects, then for further considerations we will consider the frequency range resonantly associated with the annual rhythm of the Earth.

It is known that one of the fundamental principles of the construction of living matter is the principle of the Golden Proportion. By mathematically dividing the frequency range 272.19 Hz - 544.38 Hz, resonantly related to the annual rhythm of the Earth in the Golden Proportion (in relation to 61.8% and 38.2%), we obtain the frequency 440.4 Hz(Fig.8).

Consequently, the use of the frequency of 440.4 Hz, as well as its octave images, will help both for humans and for all living things on our planet to restore harmony and eliminate the imbalance existing in the body, as well as introduce orderliness into the work of organs and systems and translation body into optimal functioning.

The tuning fork frequency of 440 Hz, currently accepted as a standard, practically coincides with the frequency of 440.4 Hz, obtained by dividing frequencies resonant with the annual rhythm of the Earth at the level of the first octave in relation to the Golden Proportion. Therefore, among the different previously used and currently proposed frequencies for tuning the tuning fork, frequency 440 Hz the best way Suitable as standard for tuning fork. The available error in this case is 0.4 Hz, i.e. only 0.095% or 0.77 cents, which is indistinguishable to human hearing. Strictly speaking, it would be more correct to tune the tuning fork exactly to a frequency of 440.4 Hz, but in practice this entails a complication of the process of manufacturing the tuning fork and subsequently monitoring the accuracy of its tuning.

This rationale for calculating the frequency of a tuning fork for planet Earth was presented by the author of this article in the report “Methods of audio stimulation of endorphinergic mechanisms of the brain,” which was presented on March 23, 2017 as part of the 2nd scientific conference “Structure, history and ecology of the Earth: from ancient knowledge to technology of the future”, which took place at the International Independent Ecological and Political Science University, Moscow.

The above arguments may be of interest from a cognitive point of view, however, in order to be convinced of their validity, examples are needed that confirm the fact that a person used the frequency of 440.4 Hz or its octave images in ancient times, as well as examples of their positive impact on the human body. And such examples really exist.

First of all, you can pay attention to some ancient structures that have survived to this day. For example, Wayland's Smithy mound, built around 2800 BC and located in Berkshire, a county in the south of England. It is a long earthen mound with 6 stones a meter-long corridor that ends with a cross-shaped chamber (Fig. 9, 10).

Fig.9	Fig.10

Another example of a structure built in antiquity is the previously mentioned megalithic complex of Newgrange, which is located in Ireland, 40 km north of Dublin (Fig. 11, 12). This complex is a large mound with a height of 13.5 meters and a diameter of 85 meters, inside of which there is a long 19-meter corridor lined with stones, which ends in a cruciform chamber with a stepped vault. The basis of the chamber is made up of vertically placed stone monoliths weighing from 20 to 40 tons.

Fig.11	Fig.12

The study of the acoustic characteristics of various ancient structures in Great Britain and Ireland, including the Waylands-Smythe mound and the Newgrange megalithic complex, was carried out in 1944 by researchers from different countries as part of the PEAR (Princeton Engineering Abnormalities Research) group under the leadership of Princeton University Professor Robert J. .Jana (Robert G. Jahn).

For this purpose, loudspeakers were installed inside the structures under study, through which sounds of different heights were emitted. In this case, the frequency of the highest intensity of sound vibrations and the loudest sound was selected. As a result, it turned out that in all six studied ancient structures, although they differed significantly in size, shape and construction materials, the interior exhibited consistent strong resonance at frequencies between 95 Hz and 120 Hz.

Noteworthy is the proximity of the obtained resonant frequencies of the premises in the buildings under study to the frequency of 110 Hz, which is an octave image of the frequency 440.4 Hz at the level of the major octave (110.1 Hz), which can hardly be regarded as a random coincidence. The existing deviations can be explained by the fact that the premises in these structures are made of unprocessed stones, which prevents the achievement of the required accuracy.

Another example of ancient structures that have survived to this day is the underground temple of the Hal-Saflieni Hypogeum on the island of Malta (Hal-Saflieni Hypogeum), whose age is estimated at approximately 5-6 thousand years. On the second underground level of this temple there is “The Oracle Room” with a small oval niche located at face height. When words are spoken into it in a low male voice, the sounds begin to resonate with a strong echo throughout the entire temple premises (Fig. 13, 14).

Fig.13	Fig.14

Acoustic studies conducted by Maltese composer Ruben Zahra and a research team from Italy found that the sound in the Oracle Chamber resonates at a frequency of 110 Hz. Noteworthy is its almost complete coincidence with the octave image of the frequency corresponding to the Golden Proportion at the level of the major octave (110.1 Hz).

Achieving such high precision was made possible by a combination of two factors - the skillful design of the room itself in order to achieve the specified acoustic properties, and also due to the fact that it was cut out of limestone, and not laid out of stones, as in the case of Waylands-Smythe Mound (Fig. 15) or the Newgrange megalithic complex (Fig. 16), which means it was possible to process surfaces with the required accuracy (Fig. 17).

Fig.15	Fig.16	Fig.17

Then the research was continued by specialists in the field of medicine, who came to the conclusion that the frequency of 110 Hz can have a special effect on the psycho-emotional state of a person and allows one to go beyond the usual reality.

Thus, Linda Eneix, president of the OTSF (Old Temples Study Foundation) from Florida, while conducting research using electroencephalography, discovered that when exposed to sound vibration with a frequency of 110 Hz, there is a sharp change in the pattern of activity in the prefrontal cortex of the brain, which leads to a partial shutdown of the language center and a transition of dominance from the left hemisphere to the right, which is responsible for emotionality and creativity, and also “turns on” the area of ​​the brain that is responsible for mood, empathy and social behavior. If we were exposed to sound vibration at other frequencies, for example at a frequency of 90 Hz or 130 Hz, then no such sudden changes in brain activity were noted.

Dr. Paolo Debertolis, after conducting a series of tests at the Uniform Neurophysiology Clinic at the University of Trieste in Italy, concluded that activation of the frontal region of the brain occurs in the frequency range between 90 Hz and 120 Hz. Only in this case, during testing, the person had ideas and thoughts similar to those that usually arise during meditation.

Psychiatry professor Ian Cook of the University of California, Los Angeles and his colleagues published the results of an experiment in 2008 in which EEG was used to study local brain activity under the influence of different resonant frequencies. The results of the study showed that when exposed to a frequency of 110 Hz, the activity patterns of the prefrontal cortex shifted sharply, leading to a relative shutdown of the functioning of the language center and dominance of the right hemisphere of the brain.

In this regard, Nicolo Bisconti ( Niccolo Bisconti) from the University of Siena in Italy (University of Siena) expressed the version that the “Oracle Chamber” in the Hypogeum was specially designed in such a way that the resulting acoustic effects could affect the human psyche.

Since the appearance of the first flat bell tuned to a frequency of 110 Hz in early 2013, we have accumulated some experience in its practical application and noticed that audio stimulation of the brain with sound vibration at a frequency of 110 Hz leads to a qualitative change in the state of brain activity , which is recorded by the results of computer diagnostics. At the same time, a person not only retains complete control over himself and the ability to clearly perceive everything that happens to him, but also gets the opportunity to go beyond the usual reality.

Achieving such a state occurs due to a decrease in beta rhythms typical of the waking state, but at the same time the person continues to remain conscious. At the same time, there is a significant increase in theta rhythms, which indicates a pronounced transition to the dominance of the right hemisphere.

Audio stimulation of the brain with sound vibration at a frequency of 110 Hz also leads to a significant decrease in delta rhythms, which indicates a clear exit from an unconscious state and the return of concentration, which is reliably recorded instrumentally using the Lotus diagnostic complex (Fig. 18).

Being in such a state, a person retains the ability not only to clearly perceive everything that happens to him here and now, but also gains access to the area of ​​the unconscious, which allows him to interact with the outside world and solve many applied problems.

Thus, the results obtained during scientific research indicate that:

No less interesting results were obtained by Doctor of Medical Sciences, Professor, Academician international academy informatization by Eduard Mikhailovich Kastrubin. According to the results of his research, it turned out that frequencies in the range from 95 Hz to 110 Hz are the most effective for stimulating the brain's synthesis of morphine-like substances - endorphins, which are neuromodulators that have an analgesic effect, have a calming effect on the human psyche and play a significant role in relieving stress .

Another important discovery was made by Lidiya Vasilyevna Savina, Doctor of Medical Sciences, Professor of Kuban State Medical University. She determined the frequency ranges typical for a healthy person, inherent in his main energy zones, and it turned out that the heart center is characterized by a frequency range of 90-110-120 Hz (Savina L.V., Monograph, “I Radiate,” Krasnodar, 2001).

In both examples given, attention is also drawn to the proximity of the frequencies identified during the research to the frequency of 110.1 Hz, which is an octave image of the frequency 440.4 Hz. Interaction with such frequencies naturally transfers the human body into an optimal mode of functioning, and the psycho-emotional state of a person into a state of harmony and harmony with the outside world.

It is possible that one of the goals of the construction of megalithic complexes and various structures with similar acoustic properties in ancient times was the ability for a person to achieve such a special psychophysiological state, which was of great practical value.

1. Considering the world from the position of wave processes, it can be noted that man, as a cell of a huge Universal organism, is invisibly involved in many external rhythmic processes, the most significant of which for man is the annual rhythm of the Earth.

2. In relation to the octave image of frequencies, resonantly associated with the annual rhythm of the Earth, the frequency of 440.4 Hz is a manifestation of the highest structural and functional perfection, therefore its use will bring order and harmony to the work of organs and systems of the human body, helping to eliminate existing imbalances and transferring the body to an optimal functioning mode.

3. The currently accepted frequency for tuning a tuning fork, 440 Hz, is best suited as a standard for tuning a tuning fork. The existing error of 0.4 Hz is insignificant, since such accuracy is not required when tuning musical instruments.

4. In order for the musical-acoustic effect to have a positive effect on the human body and promote healing from illnesses, it is necessary to synchronize the frequencies of the musical system with frequencies resonantly associated with the annual rhythm of the Earth.

5. Using the frequency of 440 Hz as a standard for tuning the tuning fork and synchronizing the scale of the musical system with frequencies resonantly associated with the annual rhythm of the Earth will allow, through musical-acoustic influence, to realize the anthropocosmic unity of man with Nature and ensure the sustainability of man as a single and integral biological system, which is one of the most important conditions for maintaining an optimal level of biorhythmic adaptation and maintaining human health in general.

Allen K.W., Astrophysical quantities. Directory, translation from English. H.F. Khaliullina, ed. D.Ya. Martynova, Moscow: Mir, 1977. - 446 p.

Eremeev V.E., Drawing of anthropocosmos. 2nd ed., rev. and additional M.: ASM, 1993. -384 p.

Kulinkovich A.E., Kulinkovich V.E. Harmony of the Universe.
http://www.ka2.ru/nauka/kulinkovich_3.html

Doroshkevich A.N., “Methods of audio stimulation of endorphinergic mechanisms of the brain”, 2nd scientific conference “Structure, history and ecology of the Earth: from ancient knowledge to future technologies”, MNEPU, 03.23.2017, Moscow,
https://www.youtube.com/watch?v=Uqym1MKNb_4

Wayland's Smithy, Neolithic Chambered Long Barrow,
http://www.stone-circles.org.uk/stone/wayland.htm

Jahn, Robert G., Acoustical Resonances of Assorted Ancient Structures, Technical Report PEAR. 95002, Princeton University, March 1995

Linda Eneix, The Ancient Architects of Sound, Popular Archaeology Magazine, Vol. 6, March 2012.
http://popular-archaeology.com/issue/march-2012/article/the-ancient-architects-of-sound

Paolo Debertolis, Department of Medical Sciences University of Trieste (Italy), Systems of acoustic resonance at ancient sites and related brain activity,
http://www.sbresearchgroup.eu/Immagini/Systems_of_acoustic_resonance_in_the_ancient_sites_and_related_brain_activity.pdf

Cook I.A., UCLA, OTSF (Old Temples Study Foundation), “Time and Thinking”, 2008

Doroshkevich A.N., 110 Hz is the key to the transition to a special state,

A standard tuning fork produces an A sound of the 1st octave with a frequency of 440 Hz. In performing practice it is used to tune musical instruments. When a choir sings a cappella (that is, without instrumental accompaniment), the choirmaster finds a tuning fork and indicates to the choristers the pitch of the sounds with which they begin their singing. The design of a tuning fork can be different. There are mechanical, acoustic and electronic tuning forks.

Story

see also

• Tuner for tuning musical instruments

Notes

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See what “Tuning fork” is in other dictionaries:

Tuning fork... Spelling dictionary-reference book

- (from Latin camera, and tonus tone). A steel instrument in the form of a two-pronged fork, through which the tone of a singing chapel is given. Dictionary foreign words, included in the Russian language. Chudinov A.N., 1910. TUNING FORK from lat. camera, and tone, tone.… … Dictionary of foreign words of the Russian language

Fork- Tuning fork. TUNING FORK (German Kammerton), a device (self-sounding vibrator) that produces a sound that serves as a pitch standard when tuning musical instruments for choral singing. The standard frequency of the A tone of the first octave is 440 Hz. ... Illustrated encyclopedic Dictionary

- (German Kammerton), a device (self-sounding vibrator) that produces a sound that serves as a pitch standard when tuning musical instruments for choral singing. The standard frequency of the A tone of the first octave is 440 Hz... Modern encyclopedia

- (German: Kammerton) a device that is a sound source that serves as a standard for pitch when tuning musical instruments and in singing. The reference tone frequency for the first octave is 440 Hz... Big Encyclopedic Dictionary

TUNING FORK, tuning fork, husband. (German: Kammerton) (music). A steel instrument in the shape of a fork, which, when struck against a solid body, always produces the same sound, which is used as the main tone when tuning instruments in an orchestra, as well as in a choir... ... Dictionary Ushakova

TUNING FORK, huh, husband. A metal instrument that produces a sound when struck, which is the standard of pitch when tuning instruments and in choral singing. | adj. tuning fork, oh, oh. Ozhegov's explanatory dictionary. S.I. Ozhegov, N.Yu. Shvedova. 1949 1992 … Ozhegov's Explanatory Dictionary

- “TUNING FORK”, USSR, ODESSA film studio, 1979, color, 115 (TV) min. School movie. Ninth graders deal with their problems. Odessa version of films by D. Asanova. Drawings by Nadya Rusheva were used. Cast: Elena Shanina (see SHANINA Elena... ... Encyclopedia of Cinema

- (diapason, Stimmgabel, tuning fork) serves to obtain a simple tone of a constant and certain pitch. This is its importance in both physics and music. It is usually prepared using steel and looks like a fork with two completely... ... Encyclopedia of Brockhaus and Efron

fork- a, m. A device in the form of an elastic steel two-pronged fork that, when struck, produces a sound of a certain frequency, a conventional tone for tuning instruments. [I] came up with a symphony. I will introduce into it the chords of hundreds of bells, tuned to various tuning forks (V.... ... Popular dictionary of the Russian language

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All beginning guitarists and even more experienced ones sooner or later face the problem of how to tune a guitar? There are several ways to tune a guitar. All of them give good results, with the right approach.
But the choice, of course, is yours. In addition, the results of tuning for different methods differ - slightly, but experienced guitarists can easily hear the difference.
It is only possible to tune a guitar with sufficient precision—just enough for listeners to find the tuning harmonious enough.

Guitar tuning methods:

1.Tuning with a portable guitar tuner.
2.Tuning using software and online tuner.
3.Setup via phone.
4.Tuning fork.
5.Guitar tuning at the fifth fret.
6.Tuning by harmonics.

1. Guitar portable tuner

Guitar tuner is an electronic device that uses a microphone to analyze the vibration frequency of the string and helps the guitarist quickly and very accurately tune the guitar.

The principle of its operation:

By pressing the buttons on the tuner, it plays a sound that is the standard for each string. Next, you pluck the string, and the tuner will show the difference (on a scale or screen), whether you need to tighten the string or loosen it.
If the arrow goes to the left, then the string is understretched; if it goes to the right, it’s overtightened; if it stops in the middle, the string tuning is complete.
Turn the pegs until the sound of the string is in unison with the sound of the standard.

To tune a guitar using a tuner, you need to know the letter designation of the strings.
Each string on a guitar has its own name.
The first, which is also the thinnest, is called “E (mi)”, then in order: B (si), G (sol), D (re), A (la), and the sixth, like the first, is also called “E (mi)". The note to which the letter corresponds is indicated in brackets.
Of course, the more serious the tuner, the closer the sound is to the reference one.
This method is convenient because you can quickly and accurately tune your instrument in almost any conditions, and also does not require good hearing.

2. Software and Online tuner

With this tuner you can tune both acoustic and electric guitars. There is a built-in microphone for tuning an acoustic guitar; for an electric guitar, you can use the line input for the instrument cable.

The principle of its operation:

When you play a string, the tuner shows the note that matches the string's frequency.
This way you can easily tune all the strings. The tuner shows you the note and what you need to do with the string, lower it or raise it.
Turn the pegs until the indicator is exactly in the center of the note you want and the green LED lights up steadily.

To tune a guitar using an online tuner, you only need a minimum of knowledge, namely what letters indicate the strings.

Here are the notes that correspond to these strings:

1st string - note E (lat. E)
2nd string - note B (lat. B)
3rd string - note Sol (lat. G)
4th string - note D (lat. D)
5th string - note A (Latin A)
6th string - note E (lat. E)

And to tune your guitar online, use this one. It is suitable for both beginners and professional guitarists.

3. Setup using your phone

If you find yourself in the field, where there is absolutely nothing, then a cell phone will help you tune the first string. We dial the number on the phone and put it on speakerphone.
The beeps emitted while waiting for an answer should sound in unison with the 1st string clamped at the 5th fret)
After the first string is tuned, we tune the rest:
The 2nd string, clamped at the 5th fret, sounds in unison with the 1st open;
The 3rd string, clamped on the 4th fret, sounds in unison with the 2nd open;
The 4th string, clamped at the 5th fret, sounds in unison with the 3rd open;
The 5th string, clamped at the 5th fret, sounds in unison with the 4th open;
The 6th string, clamped at the 5th fret, sounds in unison with the 5th open.

4. Standard method of tuning by ear using a tuning fork

If you don't have the opportunity to use a guitar tuner, then there are several other ways to tune your guitar, but they are more complex. For example, using a tuning fork.

Fork is a small portable device that accurately and clearly produces a sound of a certain pitch with weak harmonic overtones. A standard tuning fork produces the sound of the note “A” of the 1st octave, with a frequency of 440 Hz.

There are 2 types of tuning forks: Brass tuning fork and Fork tuning fork.

Tuning a guitar using a wind tuning fork (whistle)

Brass tuning fork is a simple device that operates on the principle of an ordinary whistle. The device is designed in such a way that the moment you blow into it, it emits a certain note. One of the strings of the guitar is tuned to this sound. The next string is tuned according to it, etc.

The advantage of wind tuning forks for guitar is that with their help you can extract not only one, but also three or even all six note sounds corresponding to each string.
For this purpose, the design of the device (depending on the model) has three or six holes.
This greatly simplifies the process of tuning and testing your guitar.
In order to use a tuning fork, you need good hearing, but its compact size and low price make it almost indispensable. In addition, unlike an electronic tuner, tuning with a tuning fork develops your hearing well.

Tuning a guitar using a fork tuning fork

Fork tuning fork- is a metal fork that, when struck, produces the sound of a certain note, mainly the note “A” of the first octave, which corresponds to the 5th fret of the 1st string of the guitar. Its frequency is 440 Hz.

There are 2 types of fork tuning forks:

A tuning fork that produces a standard sound in the note A "A" (the fifth open string) is very popular, as well as tuning forks in the note E "E" (the first string).

In general, fork tuning forks are less common in practice than wind forks. They are not very comfortable. In order to tune the guitar, you need one more free hand.

Method of tuning a guitar with a tuning fork:

Hit the tuning fork with something, at the moment it makes a sound, lean it against the soundboard of the guitar, pluck the string and compare its sound with the sound of the standard.

You need to tune the 1st string in unison with the sound of the tuning fork, pressing it at the 5th fret. Those. you need to tighten the string, turning the pegs, until the moment when the tuning fork and the string begin to sound the same, with the same frequency.

After tuning the 1st string, the remaining strings can be tuned according to it, as follows:

You clamp the 2nd string at the 5th fret and adjust it so that it sounds exactly like the 1st.
Then you fret the 3rd string at the 4th fret and tune it so that it sounds exactly like the 2nd.
Then you fret the 4th string at the 5th fret and tune it so that it sounds exactly like the 3rd.
Then you fret the 5th string at the 5th fret and tune it so that it sounds exactly like the 4th.
Then you clamp the 6th string at the 5th fret and tune it so that it sounds exactly like the 5th.

If the strings sound different, then you need to tune the 5th string by adjusting the peg until the two sounds sound like one. Before this, you need to determine by ear whether the 5th open string sounds lower or higher than the 6th string pressed at the fifth fret.

If the 5th open string sounds lower than the 6th string when pressed at the 5th fret, then you need to tension the 5th string with the appropriate peg. This must be done carefully and slowly until the sound of the fifth open string cannot be distinguished from the pressed 6th string. If the 5th open string sounds higher than the 6th, pressed at the fifth fret, then you should loosen the tension on the fifth string, that is, turn the peg in the opposite direction.

This classic method of tuning a guitar is most common among beginning musicians because of its relative simplicity and clarity.

6. Guitar tuning by harmonics

And now we come to the most difficult way to tune a guitar. It is used mainly only by professional guitarists.

Flajolet is a technique of playing a musical instrument that involves extracting an overtone sound, that is, a sound with double the frequency.

The harmonic sound makes it possible to hear subtle differences in unison. Therefore, tuning a guitar with harmonics is the most accurate.

The harmonics are best played at the 12th, 7th and 5th frets.

Natural harmonic- this is a method of extracting sound from a string without pressing it to the fret fret, but only by lightly touching the fingertip to the place where the string is divided into 2, 3, 4, etc. parts.

To remove the harmonic, lightly touch the sixth string with your fingertip above the fifth fret. Then right hand We extract the sound, after which we immediately remove the finger of our left hand from the string. You should not remove your finger ahead of time, as this will result in the sound of an open string. Next, we immediately extract the harmonic over the seventh fret of the fifth string. The sounds of both harmonics should be even.
It is reasonable to use this method as a finishing touch after the standard method of tuning a guitar.

Method of tuning by harmonics:

The harmonic on the 7th fret of the 1st string should sound in unison with the harmonic on the 2nd string on the 5th fret.
The harmonic on the twelfth fret of the 3rd string should sound in unison with the 1st string pressed down on the third fret.
We tune the open 3rd string along with the 2nd string pressed at the eighth fret.
The harmonic on the 7th fret of the 3rd string should sound in unison with the harmonic on the 5th fret on the 4th string.
The harmonic on the 7th fret of the 4th string should sound in unison with the harmonic on the 5th string on the 5th fret.
The harmonic on the 7th fret of the 5th string should sound in unison with the harmonic on the 6th string on the 5th fret.

Natural scale It matters not only for timbre. Some intervals of this series form the basis of musical tunings and regulate their internal structure, which helps to identify qualitative differences between different tunings.

We are building is a system of organizing musical sounds by height, expressed in the ratios of their vibration frequencies.

Any system starts from a precisely defined pitch of any one sound. In most cases, such a reference sound is la(a) the first octave, the vibration frequency of which is currently set at 440 Hz (at an air temperature of 20 ° C). It is this pitch of a given sound that is the international standard by which all musical instruments are tuned, and the pitch of other sounds of the music system is also determined.

To reproduce sound at a reference height, use tuning fork* [The tuning fork was invented in 1711 by the court trumpeter of Queen Elizabeth of England, John Ball. Initially, the pitch of the sound it produced for the first octave corresponded to 119.9 Hz. However, since that time, the tuning fork's pitch has continuously increased, sometimes reaching 453 and even 466 Hz (in the Paris and Vienna Opera Houses), which caused sharp protests from vocalists. In 1885, an international standard for the fundamental tone of musical tuning was established in Vienna, according to which A of the first octave was equal to 435 Hz. It existed until the mid-30s of the 20th century, when a new standard for the A tone of the first octave, equal to 440 Hz, was established. An increase in the number of oscillations to 440 Hz contributed to a noticeable increase in the brightness of the sound of orchestral instruments, and, consequently, the orchestra as a whole, which primarily affected the performance of works of symphonic music. Obviously, this is why the new system began to be called “orchestral”. Currently, there is again a tendency to further increase the orchestral scale to 442-444 Hz, however, this conflicts with the physical capabilities of singing voices.] - an instrument that never goes out of tune, emitting only one initially specified tone with an absolutely precisely calibrated number of vibrations per second* (Absolutely precise tuning of tuning forks is only possible in an acoustic laboratory equipped with appropriate instrumentation). An ordinary tuning fork is a solid metal two-pronged fork with a handle that, when struck, produces a tuning sound (its name is usually carved at the bottom of the fork): as a rule, this la first octave (440 Hz), less often - before second octave (523 Hz).

Fork

There are wind tuning forks in the form of a whistle or a small pipe. There are also wind tuning forks, which, with the help of a device that changes the size of the air column in the tube, can produce any of the twelve sounds of the chromatic system.

However, the most accurate are still metal tuning forks that are not influenced by any extraneous factors (except, of course, for special mechanical processing or large changes in air temperature).

Behind Lately Tuning forks, in which the sound source is an electric generator, have become widespread.

At the heart of the so-called evenly tempered system, which is the basis for modern European music, lies the division of the octave into twelve equal semitones. Earlier, before uniform temperament was established (Equal twelve-tone chromatic temperament for keyboard instruments was introduced into musical practice at the end of the 17th century (in lute music it began to be used even earlier - already in the 16th century) and now, in fact, is a generally accepted system.), there were other systems. Thus, in the period when monophonic music was predominant, it was of great importance Pythagoras tuning (the most ancient of all), which was based on a pure - acoustically perfect - fifth. The frequencies of the sounds that make up such a fifth are related to each other as numbers in the natural series - 2 and 3. For example, la the small octave has 220, and mi first octave -330 Hz. The instruments were tuned in several steps to a perfect fifth and octave. In service from before it looked like this: up to 1-salt 1-re 2 , re 1-A 1 - mi 2, mi 1-si 1 And before 2 -F 1 (in this chain there are octave moves and the last interval is a fifth to 2 - fa 1 - descending, the rest - ascending). In the major scale obtained in this way, all major thirds turned out to be somewhat expanded in comparison with similar thirds in an equal-tempered scale. Such thirds sounded bright, somewhat tense and sharpened, and this corresponded to the intonation tendencies of single-voice music, especially in ascending melodic moves. This is exactly what the III, VI and VII degrees of the scale sound like in the Pythagorean scale. In the melodic sequence, a slight increase in the sound of these steps does not cause a feeling of falsehood, does not irritate the ear, and sometimes may even be unnoticeable. But when comparing the Pythagorean and equal-tempered scales, these increases are easy to notice.

When polyphony began to develop and, along with melody, chords and harmony also became of great importance, the Pythagorean tuning ceased to satisfy the musicians, since chords with extended major thirds of this tuning sounded too sharp, tense, and sometimes simply false. Extended major thirds, which are favorable for playing melody, turn out to be unsuitable for chord combinations. Indeed, in Pythagorean polyphony the structure is unacceptable, whereas in monophony it is perceived as natural. The artistic demands that arose in practice gave rise to a new system. This was the so-called pure tuning, in which the major thirds are acoustically perfect, that is, the frequencies of sound vibrations in them are related as numbers in the natural series - 4 and 5. For example, la the first octave will have 440 Hz, and the one lying above it C sharp- 550 Hz. In pure tuning, major thirds (compared to Pythagorean and equal-tempered tunings) are somewhat narrowed. Melodic major thirds, built on the I, IV and V degrees of the major scale, in pure tuning seem very narrow and do not satisfy the musical ear, but in chords these natural major thirds sound very good. Therefore, intonations of pure tuning are used in polyphony (for example, in ensembles and choirs), but pure tuning is not suitable for intonation of melody.

It is quite obvious that both Pythagoras and the pure system could not completely satisfy the musicians. The equal-tempered tuning that replaced them, in which all twelve sounds are arranged at uniform intervals - semitones, which are the smallest pitch ratio between adjacent sounds, eliminates the shortcomings of the pure and Pythagorean tunings and is therefore the best basis for tuning many musical instruments. However, on the other hand, it also eliminates the advantages of these systems.

In singing and playing bowed and plucked strings string instruments(those of them that do not have so-called frets or sills), as well as on wind instruments, that is, on instruments with free intonation, along with intervals of equal-tempered tuning, intervals of Pythagorean and pure tunings, as well as intervals of other values, are widely used. Their choice depends on the melodic and harmonic organization of the music, on the role of a particular sound in the musical context, and on whether a given sound is part of a melodic sequence, or whether it is more of a chord sound. Such small deviations from the exact values ​​of pitch in an equal-tempered system in musical practice are not the exception, but the rule, and they do not cause a feeling of falsehood, which is due to the zone nature* [The sounds practically reproduced during singing, playing or tuning musical instruments are only a greater or lesser approximation to the required height, while reaching one of the frequencies within the vibration zone corresponding to a particular sound. The fact is that each sound can be expressed not by one, but by several close values ​​of vibration frequencies per second, together forming a so-called zone. For example, the A of the first octave should ideally always have 440 Hz, however, both 439 and 441 Hz will correspond to the same A, only in the first case this sound will be slightly lower, and in the second - slightly higher than the standard. During the performance of music, such minor deviations from the norm of vibrations established for a given sound are almost not felt by the ear, and therefore do not have a decisive influence on the perception of pitch.] height perception.

However, this does not mean that the musical ear is not capable of noticing such deviations from the acoustically accurate pitch.

The sensitivity to distinguishing small pitch shifts in people with good hearing is very high. A musician may notice deviations equal to five to six hundredths of a semitone (or cents, as they are called in acoustics), while good tuners can sometimes notice deviations of one or two cents. Such small pitch changes in the direction of raising or lowering the sound can be quite noticeable, of course, only for a highly developed and very well trained ear for music. It follows that every musician needs to work tirelessly to develop a fine ear for intonation, since in artistic performance pitch nuances are used very widely, as one of the means of musical expressiveness.

Chapter II. MUSICAL SYSTEM, SOUND NOTATION

An amerton is a device that reproduces a reference note from which all other sounds on the instrument are tuned. There are the following common types of tuning forks: metal, wind and electronic.

1.1. Metal tuning fork

The metal tuning fork came to us from time immemorial. It is reliable, accurate, durable, and just looks beautiful.

Most of these tuning forks produce the note “A” of the first octave, which corresponds to the sound of the 1st string (strings are counted from bottom to top, the first string is the thinnest), pressed at the 5th fret. The tuning fork is used in two modes: quiet and loud. Quiet mode is when you hold an oscillating tuning fork to your ear. And loud - when you touch it, say, to a piano or to the soundboard of a guitar. At the same time, the sound volume increases noticeably.

So, let's start tuning the guitar.

1. Take the tuning fork from the side where it has one tip and hit it.
2. Listen to the note.
3. You need to tune the first string so that, when pressed at the 5th fret, it gives the same sound as a tuning fork - the note “A”. Rotate the peg carefully so as not to overtighten or break the string.
4. Have you set it up? Now let's listen to the open (not pressed) 1st string. This is the note "E". We need the 2nd string, pressed at the 5th fret, to sound the same way - to the note “E”. Set it up. Please note that the note “E” on the 1st and 2nd strings does not sound exactly the same - there is a difference in timbre (sound color).
5. Now by analogy. Tune the 3rd string so that at the 4th fret it sounds like an open 2nd string. This is the note "B".
6. The 4th string at the 5th fret is like the 3rd open string (G note).
7. The 5th string at the 5th fret is like the 4th open (note “D”).
8. The 6th string at the 5th fret is like the 5th open (note “A”).

Unlike a metal one, a brass tuning fork produces 6 sounds of open strings. It's convenient, but there are significant drawbacks. Such tuning forks are short-lived and gradually lose accuracy due to oxidation of the reeds.

1. Blow into the hole corresponding to any string;
2. Tune this string.

Although the error does not accumulate, checking by intervals and chords will still allow you to tune the guitar more accurately.

1.3 Electronic tuning fork

It can produce many different sounds, the set of which differs depending on the model. The photo shows a Korg device that successfully combines a tuning fork and a metronome in one housing.

On most of these tuning forks, it is possible to calibrate the height of the reference note “A” of the first octave, relative to which the device tunes the remaining sounds. This can be useful if you play, say, with a piano tuned to 442 Hz (let me remind you that the reference frequency is 440 Hz). Here's how to tune the guitar:

* - there is confusion associated with the designation of the note “B”. Part musical world denoted by the letter “B”, and the part by “H”. Moreover, in the case of “H”, the B-flat note is designated as “B”. Most likely, your tuning fork will use the first designation, where "B" is "B".

Consider this point not only when tuning your guitar, but also when reading the alphanumeric chord symbols.

Another interesting point concerns which octave is on the guitar fretboard. You can often find information that the first open string is “E” of the second octave, and all the rest, respectively, belong to the first and small. This is an erroneous statement. It comes from the fact that guitar notes are written an octave higher than piano notes. I will dispel this statement. The first open string is “E” of the first octave, as written in the table.

1.4. Other tuning fork options

The role of a tuning fork can be played by a dial tone on a landline phone, the first note of a ringtone on a cell phone, or something else. Just use your imagination.

2. Piano tuning

Everything is simple here. A piano is the same as a tuning fork, you just need to know which key to press. The diagram shows which key corresponds to which open string.

How well the piano itself is tuned is another matter. Practice shows that usually not very well. In this case, you can take only one of the piano notes as a standard, and build all the others from it, as in the case of a metal tuning fork. It is important that the guitar strings build with each other first and then with the piano. If you tune your guitar for a synthesizer, then there will be no tuning problems (unless the synthesizer is in good technical condition).

3. Tuning your guitar using a tuner

A tuner is a device that responds to the sound of your instrument and helps you tune it. The display shows different helpful information, For example:

• Note name and octave;
• String name;
• Frequency of vibration of a note;
• Recommendations for tightening or loosening the string;
• Frequency of the reference note “A” of the first octave.

The most important characteristics for a tuner are the speed of the indicator’s response to the played sound and the step size of the indicator (the smaller the step, the more accurately you can tune the guitar). Tuners come in different designs and purposes. The following table describes the main varieties:

Now let's look at how to tune a guitar using the example of two tuners - mobile applications. The first of them is the most popular GuitarTuna. This tuner is designed specifically for guitarists, as evidenced by its guitar-style interface.

The application is able to automatically detect which string you are playing if the “auto” mode is turned on. It's enabled by default, but check it out.

1. Play the first string.
2. Look at the display. Make sure that the tuner recognizes the first string (the first string peg is illuminated). You will also see an indicator arrow sliding across the top of the screen and a green line extending from it. If the arrow and line are to the left center line, then the string needs to be tightened a little. If it's on the right, loosen it. You need to ensure that the green line covers the central one*. You can figure out which way to turn the peg experimentally.
3. Tune the first string and do the same with the 2nd, 3rd, etc.

* - The string does not sound mathematically even, so the arrow dangles a little to the right and left and it may not be possible to completely close the middle strip. Just try to close it as much as possible. The 5th and 6th strings are especially capricious in this regard. When setting them up, you need to wait until the green bar becomes more or less stable. You may have to wait a second or two. At first you will see a curve, as if drawing a mountain across the entire screen, but then the indicator will find a conditionally stable position (“conditionally stable” because the arrow still dangles back and forth, but with a small amplitude). Focus on this conditionally stable position.

Most common mistakes for beginning guitarists when tuning a guitar:

• Turns the wrong peg
• Plays the wrong string
• Sets up in a place that is too noisy
• I turned off the “auto” mode and forgot about it
• Plays a note, immediately mutes it, and only then rotates the peg (the peg must be rotated while the note is sounding, observing in real time the behavior of the indicator arrow).

In the “auto” mode, the tuner determines the string by its pitch. That is, he hears that something close in frequency to the first string is now sounding and determines that this is the first string. If the guitar is very out of tune, then this method will not work. Then you need to set the string manually.

1. Disable "auto" mode;
2. Click on the image of the peg of the desired string, make sure that the peg is highlighted;
3. Tune the string;
4. Click on the image of the other string's peg and tune it. Similarly, tune the remaining strings.

It is important not to forget to switch the string by clicking on the peg icon. Otherwise, there is a risk of over-tightening and breaking the string.

Now let's try another tuner. It's called "DaTuner". It represents a different concept of tuners. There is no highly specialized guitar information on the display, such as “which peg to turn and which string we are currently tuning.” But there is the name of the note, octaves and sound frequency in hertz.

And now, using the table, we tune each string.

If you decide to purchase a clip-on tuner or something else, I still advise you to first practice with these two mobile applications. The point is that they are accurate and have a fast response. Using them, you will understand what a real tuner should be like and, when you come to the store, you will choose a high-quality device.

4. Conclusion

The tuner makes tuning your guitar much easier. In fact, it configures the tool for you. Some may say that using it is harmful, because it does not develop your own ear for music. But I will object. Quite the opposite: hearing develops as the guitarist develops a standard for the correct sound of the instrument and over time he gets used to how it should be, and he has the ability to accurately tune the guitar by ear. If he starts with a tuning fork, then it is not a fact that his tuning will be accurate. For some reason, some people think that tuning by ear is easy, but I have personally seen more than once how even musicians whose ear for music cannot be doubted cannot cope with this task.

Once you've mastered the tuning techniques presented in this article, it's time to deepen your understanding by reading my article, Professional Guitar Tuning. The fact is that although the tuner makes it possible to precisely tune open strings, this does not mean that your guitar will perfectly keep in tune, say, in harmonies of three sounds. For live performances, the tuner's accuracy is more than enough, but in the studio, more precision is required. This is especially important for an electric guitar with distortion, where the slightest inaccuracy in tuning leads to “beating” and “out of tuning” at fifths.

Kirill Pospelov was with you. If you have any questions about the article, write to me at