Heinke Aussenegg Heinke Aussenegg
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composer  artist  engineer
Oktober 2015
Last year, in the summer 2014, my old friend Wolfgang Funk asked me to work with him on the pre-production for the hollywood movie “rock the kasbah”. Wolfgang and his company Marrakech Prod where involved in the shooting of the fim in Marocco. Wolfgang asked me to help him with some of the sound tracks for the pre- production and I  really appreciated it. I did some keyboard tracks and some arrangemets, backing vocals, audio recordings and some mixing for the playbacks they used for the shootings. It was a interesting, somtimes frantic, but always exciting piece of work. Thank’s to all who where involved! Now the film starts in the US! Must See! 
KINOSTART!
432 Hz Project The    concert    pitch    (standard    A)    is    and    was    the reference   tone   for   instruments   in   an   orchestra   or other    instruments,    which    are    used    for    making music   together.   Today’s   standard   is   440Hz   (up   to 444Hz   in   modern   orchestras).   This   standard   was set   in   1939   to   make   it   easier   for   musicians   from   all over   the   world   to   interact   and   work   together   in music    productions.    In    previous    centuries    many different   concert   pitches   were   used   and   there   were also   diverging   opinions   about   the   impact   and   effect music   can   have   with   a   different   standard   A.   The fact   is   that   e.g.   string   instruments   have   different tensions    depending    on    the    standard    A.    This changes    the    colour    and    vibration    of    the    music which   leads   to   different   sounds   and   can   be   wanted by   the   artist   or   not   (used   as   an   artistic   element: more   or   less   “aggressive”   overtones,   clearer   and brighter   sound   etc.).   In   those   days   this   was   well known   by   the   composers   and   band   leaders.   The   so called   “Deutschmeister-tuning”   (452Hz-461Hz)   was used   for   Marching-Band-Music   and   Military-Music (to   make   the   listener   more   aggressive   and   willing to fight?). The    diapason    of    many    old    masters    often    was around    432Hz    and    435Hz    and    there    are    some reasons   for   using   this   concert   pitch   even   today.   An interesting   fact   is,   that   some   old   cultures   also   (“by intuition”)    used    deeper    concert    pitches,    deeper than   440Hz.   Does   music   push   us   to   the   limits,   if we       use       higher       pitch-tones?       (Like       the “Deutschmeister”   used   for   their   war-music.)   Do   we alienate   from   our   natural   environment   in   the   same amount    we    increase    beat    and    pitch?    Are    we overstressing    ourselves    like    we    overstress    our instruments?    Thoughts    to    be    considered.    Those who   observe   nature   and   its   creative   rhythms,   its mysterious    oscillation    and    resonance    principles, can   come   to   the   conclusion   that   there   must   be   an effect   by   using   either   a   high   or   a   lower   concert pitch    as    the    fundament    of    our    music.    And    if so…then we’d rather use it with consciousness. A   great   researcher   in   human   history,   Pythagoras the    Greek,    was    into    the    research    of    tones    and vibration    as    a    mathematical    equivalent    and    its fundamental   laws   of   intervals   and   ratios.   He   left   us not only formulas but also his tuning system the Pythagorean Tuning Without   going   into   great   detail   tuning   is   another essential    part    in    music    and    it    has    developed through   the   centuries.   There   was   a   major   change caused    by    the    upcoming    keyboard    instruments. They   had   to   be   fix-tuned   which   made   it   impossible to   react   on   tuning   issues   by   the   instrumentalist while    playing.    There    was    no    way    to    tune    a keyboard   instrument   in   “just   intonation”   so   that you    could    transpose    music    into    different    modes (keys).   A   compromise   was   found   (after   many   other tries)   by   the   so   called   Well-Tempered   Clavier   tuning (J.   S.   Bach)   which   allowed   to   modulate   through different    keys    but    at    cost    of    just    intonation, euphony   and   harmony.   It   made   music   develop   in many   ways   but   the   loss   of   harmony   and   euphony   is not   to   undervalue.   It   means   two   (ore   more)   tones are     reacting     and     interfering     more     or     less harmonically.   In   different   tuning   systems   there   are intervals    which    are    “just”.    In    the    Pythagorean Tuning   it   is   the   5 th    interval   (except   the   Wolf   Fifth). Pythagoras   developed   his   tuning   on   mathematical principles   and   there   are   many   interesting   details but   as   I’ve   promised   I   will   not   go   into   detail   too much.   It   only   remains   for   me   to   add:   Standard   A 432Hz   means   in   Pythagorean   Tuning   a   C   of   512Hz which   correlates   the   frequency   of   a   diapason   for otologist s.   Several   octaves   downwards   you   end   up with    8Hz    which    corresponds    approximate ly     the Schuhmann   Frequency   and   the   borderline   between waking   consciousness   and   dream.   For   that   reason I’ve   used   the   tuning   and   the   standard   A   432Hz   to create   harmonic   connections.   The   pieces   in   their order   of   appearance   are   created   to   guide   into   a deeper   listening   of   tones   thus   leading   to   a   healing and relaxing bodily   state . The    CD    is    primarily    intended    for    therapists    as assistance      to     massage,     meditation,     breathing exercises,   yoga…etc.   Should   you   fall   asleep   while listening…well done!
Sept. 2017
Eine neue CD ist im Anmarsch voller erstaunlicher Klangtiefe und neuer Sounddimensionen!
Jänn. 2018
I am proud to annaounce my cooperation with PRANAHAUS!
Since August of 2017, I was in contact with PRANAHAUS to get my products into their distribution network. Fortunately they liked it and so it will be in their upcomming catalouge and also promoted in their online store. The team at PRANAHAUS was terribly nice and helped me to get everything done in time. So now you can get the CD at their shop too!
The CD „Pythagorean Tunes is available at the online-store of PRANAHAUS
"Le   silence   des   papillons"   A   film   by   Hamid   Basket.   The   title   of   Barakka Transfer "Intro Dhakhla" was used in the closing scene. Composers: Wolfgang Funk, Lopa Kothari and Heinke Aussenegg
With great pleasure I may announce the company SilenzioAG is the world wide publishing house for my 2 CDs "Pythagorean Tunes" and "DEEP Meditation". Both CDs are already available in the online shop! Soon also in various shops!
Recent
Sept. 2018
432hz Music Heinke Aussenegg
Recent
coming soon!
Eine neue CD ist im Anmarsch voller erstaunlicher Klangtiefe und neuer Sounddimensionen!
Last year, in the summer 2014, my old friend Wolfgang Funk asked me to work with him on the pre-production for the hollywood movie “rock the kasbah”. Wolfgang and his company Marrakech Prod where involved in the shooting of the fim in Marocco. Wolfgang asked me to help him with some of the sound tracks for the pre-production and I  really appreciated it. I did some keyboard tracks and some arrangemets, backing vocals, audio recordings and some mixing for the playbacks they used for the shootings. It was a interesting, somtimes frantic, but always exciting piece of work. Thank’s to all who where involved! Now the film starts in the US! Must See! 
432 Hz Project The    concert    pitch    (standard    A)    is    and    was    the reference   tone   for   instruments   in   an   orchestra   or   other instruments,     which     are     used     for     making     music together.   Today’s   standard   is   440Hz   (up   to   444Hz   in modern   orchestras).   This   standard   was   set   in   1939   to make   it   easier   for   musicians   from   all   over   the   world   to interact   and   work   together   in   music   productions.   In previous   centuries   many   different   concert   pitches   were used   and   there   were   also   diverging   opinions   about   the impact    and    effect    music    can    have    with    a    different standard   A.   The   fact   is   that   e.g.   string   instruments have   different   tensions   depending   on   the   standard   A. This   changes   the   colour   and   vibration   of   the   music which   leads   to   different   sounds   and   can   be   wanted   by the   artist   or   not   (used   as   an   artistic   element:   more   or less   “aggressive”   overtones,   clearer   and   brighter   sound etc.).    In    those    days    this    was    well    known    by    the composers      and      band      leaders.      The      so      called “Deutschmeister-tuning”   (452Hz-461Hz)   was   used   for Marching-Band-Music   and   Military-Music   (to   make   the listener more aggressive and willing to fight?). The   diapason   of   many   old   masters   often   was   around 432Hz    and    435Hz    and    there    are    some    reasons    for using   this   concert   pitch   even   today.   An   interesting   fact is,   that   some   old   cultures   also   (“by   intuition”)   used deeper    concert    pitches,    deeper    than    440Hz.    Does music   push   us   to   the   limits,   if   we   use   higher   pitch- tones?   (Like   the   “Deutschmeister”   used   for   their   war- music.)   Do   we   alienate   from   our   natural   environment in   the   same   amount   we   increase   beat   and   pitch?   Are we    overstressing    ourselves    like    we    overstress    our instruments?   Thoughts   to   be   considered.   Those   who observe   nature   and   its   creative   rhythms,   its   mysterious oscillation   and   resonance   principles,   can   come   to   the conclusion   that   there   must   be   an   effect   by   using   either a   high   or   a   lower   concert   pitch   as   the   fundament   of   our music.    And    if    so…then    we’d    rather    use    it    with consciousness. A   great   researcher   in   human   history,   Pythagoras   the Greek,   was   into   the   research   of   tones   and   vibration   as a   mathematical   equivalent   and   its   fundamental   laws   of intervals   and   ratios.   He   left   us   not   only   formulas   but also his tuning system the Pythagorean Tuning Without    going    into    great    detail    tuning    is    another essential   part   in   music   and   it   has   developed   through the   centuries.   There   was   a   major   change   caused   by   the upcoming   keyboard   instruments.   They   had   to   be   fix- tuned   which   made   it   impossible   to   react   on   tuning issues   by   the   instrumentalist   while   playing.   There   was no    way    to    tune    a    keyboard    instrument    in    “just intonation”    so    that    you    could    transpose    music    into different   modes   (keys).   A   compromise   was   found   (after many    other    tries)    by    the    so    called    Well-Tempered Clavier   tuning   (J.   S.   Bach)   which   allowed   to   modulate through   different   keys   but   at   cost   of   just   intonation, euphony   and   harmony.   It   made   music   develop   in   many ways   but   the   loss   of   harmony   and   euphony   is   not   to undervalue.    It    means    two    (ore    more)    tones    are reacting   and   interfering   more   or   less   harmonically.   In different   tuning   systems   there   are   intervals   which   are “just”.   In   the   Pythagorean   Tuning   it   is   the   5 th    interval (except    the    Wolf    Fifth).    Pythagoras    developed    his tuning   on   mathematical   principles   and   there   are   many interesting   details   but   as   I’ve   promised   I   will   not   go into   detail   too   much.   It   only   remains   for   me   to   add: Standard   A   432Hz   means   in   Pythagorean   Tuning   a   C   of 512Hz   which   correlates   the   frequency   of   a   diapason   for otologist s.   Several   octaves   downwards   you   end   up   with 8Hz   which   corresponds   approximate ly    the   Schuhmann Frequency     and     the     borderline     between     waking consciousness   and   dream.   For   that   reason   I’ve   used the    tuning    and    the    standard    A    432Hz    to    create harmonic    connections.    The    pieces    in    their    order    of appearance   are   created   to   guide   into   a   deeper   listening of   tones   thus   leading   to   a   healing   and   relaxing   bodily   state . The     CD     is     primarily     intended     for     therapists     as assistance       to      massage,      meditation,      breathing exercises,    yoga…etc.    Should    you    fall    asleep    while listening…well done!
I am proud to annaounce my cooperation with PRANAHAUS!
The CD „Pythagorean Tunes is available at the online-store of PRANAHAUS
Since    August    of    2017,    I    was    in    contact    with PRANAHAUS   to   get my      products      into      their d   i   s   t   r   i   b   u   t   i   o   n     n    e    t    w    o    r    k    .      Fortunately       they liked    it    and    so    it will     be     in     their u   p   c   o   m   m   i   n   g     catalouge   and   also promoted    in    their online    store.    The team                    at PRANAHAUS   was   terribly   nice   and   helped   me   to get everything done in time. So now you can get the CD at their shop too!
Jänn. 2018
Oktober 2015
With great pleasure I may announce the company SilenzioAG is the world wide publishing house for my 2 CDs "Pythagorean Tunes" and "DEEP Meditation". Both CDs are already available in the online shop! Soon also in various shops!
"Le    silence    des    papillons"    A    film    by    Hamid Basket.     The     title     of     Barakka     Transfer     "Intro Dhakhla" was used in the closing scene. Composers:    Wolfgang    Funk,    Lopa    Kothari    and Heinke Aussenegg
Sept. 2018
Heinke    Aussenegg
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