By All These Presents:
A new standard of lower frequency preservation tuning pitch separate than the commercial entertainment standards of A=440 Hz and A=444 Hz is petitioned for the intended and direct application and/or use of:

1. Preserving delicate historical instruments made from well aged organic glues, under tension stressor threat of damage under brighter higher pitch tunings and,

2. Establishing a new and completely separate standard of lower pitch tuning to innovate therapeutic efficacy, intended for use in sound wellness, music therapy and life coaching systems and,

3. Creating sustainable economic innovative growth in many new music and/or health and/or wellness and/or coaching niche markets and,

4. To not, catastrophically disrupt the current commercial tuning standards markets and music industrial commercial complex by challenging a total revolutionary change of entertainment tunings, and,

5. To be presented for potential innovative research and development for scientific study and/or health and and/or wellness niche markets and,

6. Presentment of the argument of a lower frequency preservation tuning pitch to be supported by clinical research presented and published in 2006 based on the spiral shape of the ear and its ability to translate lower frequency into higher sensitivity in nerve signals and,

7. Use the simplest logic of Occam's Razor as the easiest understanding for consideration of lower frequency preservation tuning pitch recognition and,

8. Enshrine international trade rights and freedoms to equal protection against any discrimination of freewill choice to use a new music standard of low frequency preservation tuning pitch for reasonable enjoyment and therapeutic use under international rights and,

9. To preserve the vocal chords of singers for better bel canto transition, less strain on soprano and falsetto vocal techniques and harmonic overtone chanting.

History of the start of the first 432 Hz lower tuning campaign.
In the late 1980’s (1987-88) musicians, opera singers and composers were calling for a lowering of concert pitch to preserve the bel canto transition of the human voice and conserve historical instruments that can be damaged at higher tunings due to their delicate construction.
The Schiller institute (a political think tank) PUBLISHED ON April 9th 1988 calling for a preservation of pitch and bel canto vocal range.

Testing on historical instruments made with organic glues and complex lacquers concluded that they cannot withstand long-term conservation under the pressure tension that higher commercial music tunings demand!
There is more detail on this conference CLICK HERE

Renata Tebaldi, (B:1922- D:2004), Italian soprano was campaigning for lowered tunings long before the Schiller institute held it's press conference on April 9th 1988.
Although the Schiller institute campaign was short lived and somewhat polar, it was carried forward by other independent musicians from 1990’s onwards.

Under the Official Preservation Pitch Campaign, A=432 Hz is not intended to fully replace A=440 Hz, or any other tuning pitch.
It establishes that higher tunings can be damaging to delicate wooden historical instruments over time due to increased string pressure tension and there a preservation standard would allow for historical antique instruments to be preserved over a longer time period in A=432 Hz.

Although many other lower tunings can be picked due to the arbitrary nature of man made math & time measurement. A=432 Hz would still be close enough to the de facto A=440 Hz standard for a mixture of newer synthetic instruments & historical instruments.

Although we can go a little lower in concert ‘A’ pitch,  A=432 Hz sits on the warm cusp of tonal sensation that will still allow enough brightness to satisfy the intellectual ego whilst preserving both instrument and vocalist in a natural bel canto transition!

The Official 432 Preservation Pitch Campaign is NOT calling for a total replacement of higher tunings.
Instead, the Official 432 Preservation Pitch Campaign seeks to recognize a standard within the arbitrary Hertzian based tuning system that can preserve our delicate historical instruments and sustain a rich musical past of instruments that should not be ripped to shreds for wanting to meet the demand of brighter tunings under increased tension.

Does this make sense?
If we have historical instruments under threat of damage from increased tension from raising concert pitch, we should have a preservation pitch that seeks to save our musical history instead of destroying it for catering to the intellectual ego brightness of higher tuning.