Solfeggio · SOL
741Hz
Solfeggio narrative: Expression
Nine semitones above the standard. By this point, fine-tuning has long since become a different track.
Chladni figure · n 6.55 · m 10.48
What happens when you switch
This is no longer a fine adjustment.
A track in C ends up roughly in A. At shifts this large, the processing itself becomes audible: a pitch shift across several semitones leaves traces in the sound, especially in voices. Radio 432 doesn’t hide that — it’s the honest limit of the method.
Origin
Where the name comes from
The syllables Ut, Re, Mi, Fa, Sol, La go back to Guido of Arezzo in the 11th century. He took the opening syllables of the lines of a Latin hymn and turned them into the first workable method for naming melodies, rather than just singing them back by ear. This “Ut–Re–Mi” became today’s “Do–Re–Mi”.
What Guido did not do: assign hertz values to these syllables. The term hertz did not exist at the time, and neither did a binding tuning standard. The assignment of specific frequencies to these syllables is considerably more recent and does not date back to the Middle Ages — it is often told that way, but the sources for it are modern.
All ten, as the ear hears them
Plotted in Cents measure small pitch differences: 100 cents make a semitone, 1 cent is barely audible. More about cents → relative to 440 Hz — the unit the ear actually reckons in. A semitone is 100 Cents measure small pitch differences: 100 cents make a semitone, 1 cent is barely audible. More about cents → , an octave 1200.