From numbers,
the outline of sound appears.

432Hz.
440Hz.
528Hz.

When you look into sound,
you come across all kinds of numbers in “Hz.”

I love measuring frequencies.

After sensing, “This sound feels good,” I try measuring it.

And then,

“I see—so that was the relationship.”

Sometimes, what I had felt with my ears takes on a clear outline.

Conversely, I sometimes search for a frequency derived by calculation
and then play an actual crystal bowl.

Calculate.
Measure.
Listen.
Feel with the body.

I have been going back and forth like this for a long time.

432Hz and 440Hz

Take A=432Hz and A=440Hz, for example.

This notation is often used to express a musical reference.

A refers to the note “la.”
In other words, the difference is how many Hz the reference “la” is set to.

When the reference changes,
the frequency of every note derived from it changes too.

528Hz and the Solfeggio Frequencies

And then, 528Hz.

Whereas 432Hz and 440Hz are about “where to set the reference note A,”
528Hz refers to one frequency in itself.

528Hz is sometimes introduced
as one of a group of frequencies
known as the “Solfeggio frequencies.”

The Solfeggio frequencies include
several specific frequencies,
such as 396Hz, 417Hz, 528Hz, 639Hz, 741Hz, and 852Hz.

Various meanings are sometimes attached to each number,
and 528Hz is among the best known of them.

Even when I come across numbers like these,
the first thing I do is listen to the actual sound.

What kind of sound is 528Hz?

When combined with other sounds,
what relationships can it form?

When placed within music,
what kind of resonance does it become?

Starting from a number,
and returning to real sound.

For me, that is where
the fascination of exploring frequency lies.

The Frequencies of Crystal Bowls

Every crystal bowl
has its own individual variation.

Even if the label shows the same note name,
measuring reveals small differences.

Sometimes I look at them in units of 0.1Hz.

And in the end, I always play them.

The numbers line up beautifully.
Then I actually layer those sounds.

How do the overtones overlap?
How does it spread through the space?
How does the body receive it?

By checking all the way to that point,
what were once numbers
come into view as a single “resonance.”

For me, frequencies are
something like coordinates for knowing sound more deeply.

Seeing sound through numbers.
Seeing numbers through sound.

As I keep going back and forth,
sensation and theory gradually connect.

And beyond that, once again,
I encounter an unexpected resonance.

I love that moment,
and so today, too, I am measuring sound.