Saturday, November 03, 2007

Moving to Fusion Fiddle

Convergence was a big word not long ago. Now I'm doing it too.

Look for any further comment about A-432 in my other Blogger blog:
Fusion Fiddle.

Hear a current example of A-432 tuning on SnapVine:
Squirrel Jump.

Tuesday, September 11, 2007

Tuning to the Bone

Recently, while talking with Stephanie at Lyndon LaRouche's office, she revealed that the A-432 tuning harmonizes with the outer physical body. C-256, a natural resonance in this tuning, matches the rate of vibration for our bones.

It might be a stretch to think that every bone in every person's body has a natural frequency of 256 Hz. If so, it could be one more good reason to use this tuning.

Friday, June 22, 2007

Other Fiddle Blogs

The theme and purpose of this blog is to advocate the tuning pitch of A-432. We can call it the Mozart A, the Verdi A, or the organic A. It's all A to me.

Much of what I wish to say about music belongs elsewhere. That's why I have made two other blogs.

Fusion Fiddle describes my playing, my esthetic, and my intention. General opinion's and tips belong there.

My new band Fiddle Matrix is using a blog to help organize our practices and communications.

Wednesday, June 13, 2007

FiddleMatrix Band Tunes Down to A-432

For the past two practices Brad Sutton on keyboard and Mark Musser on bass have tuned with me to A-432. The practices have been creative and easy. I believe the Mozart tuning helps that.

Our plan is to practice every week this summer. By September we should have two sets ready for performance. Before that we may have some mp3 files to share.

It has been my observation when just practicing fiddle or violin, I can practice longer with less stress when I tune to A-432. Now it seems that the supportive tonality of the A-432 pitch helps the other members of the band as well.

Friday, June 01, 2007

Out Ahead of the Fiddler A-432 Curve

In the time since my last post, I haven't convinced anyone of the efficacy of A-432 tuning for the fiddle. Well, there is one exception, myself.

I've been into it for a while. Even so, I would pick up my A-440 violin as often as not. Whatever was handy.

Now, I go to extra effort to unpack and prep the A-432 fiddle for a practice session. At some point I began to believe that I could practice longer and with less physical stress on that one.

A few weeks ago I gave the first program in The Money Tunes live at the New Port Richey Library. The room was packed, thanks to a timely article in The Suncoast News by Cheryl Bentley. The article even hints of "a different pitch."

The program went well. People liked it. They accept the slight difference in pitch without conscious effort. It just works.

Maybe on this issue of tuning to A-432, I'm just too far ahead of the curve for most musicians.