This is a short article written to copyright a pioneering idea in the realm of music theory. The problem with the concert pitch debate is that most every proposition has been subjectively reasoned, with no logical justification as to why any pitch makes more sense than any other. I note the origins of the second-hand in timekeeping and how they most sensibly relate to pitch frequencies in music based on the sexagesimal system to give us a further breakdown of time and measurement in tonality, which music is intended to do at its most fundamental. In this argument is a bit about why Five Limit Tuning is better than Equal Temperament, when it used with the Philosophical Pitch standard of C256, and a root key of A, to make a new set of stacking thirds pitches in the chromatic scale so as to make their lowest octaves the very numerators and denominators by which every note in the chromatic scale is derived to begin with. Altogether a tight and cogent argument.
