(updated 8/2014)
...The following chart shows the frequencies of various musical notes in vibrations per second (HZ): {This range covers the notes on a standard piano keyboard.} This is not the tempered musical scale that pianos are tuned to but rather the untempered mathematically correct scale frequencies.
32.70 2093.00
65.41 130.81 523.25
261.63 1046.50 4186.00
34.65 138.59 2217.45 4434.90
277.63 1108.72
36.71 146.83 2349.31
73.42 293.66
587.33 1174.65
38.89 622.25
155.56 2489.02
311.13 1244.51 4978.03
659.25 1318.51
164.81 2637.01 5274.03
698.46 5587.64
1396.91 2793.82
87.31 349.23
92.50 370.00
2954.94 5919.88
784.00 3135.96
98.00 196.00 392.00 1567.98
G 6271.93
103.83 6644.86
51.91 830.61
207.65 415.30 1661.21 3322.43
A 27.50
880.00 1760.00 3520.00
A#/Bb 1864.65
58.27 466.16 932.33
116.54 233.08
123.47 493.88
61.74 246.94 1975.53
...The formula for the sound frequencies is Pitch (HZ) = 523.25 * 2 (x/12) exponent where x= the number of semitones from 'C'. Once you have established an octave of 12 semi-tones; just multiply or divide for the others. Middle 'C' is 261.63 HZ {vibrations per second.}
Goal Frequencies for tuning violin plates and other parts (8/2014)....
...First let us review the general goal frequencies for any succesful violin.

...The plate tap tones should be even all over the plates' vibrating surface area (all but the edges and ends over the end blocks).

...The back plate's tap tone should be 198 HZ ; the top plate (belly) should be 176 HZ.
...The fingerboard's side tap tone, and top tap tone should be even from end to end and all over the top surface. It should be the same as the top plate at 176 HZ,
...The tail piece's tap tone (at the ebony wood string contact bridge on the front side of the tail piece), at each string position, must exactly match the fingerboard's 176 HZ. However, Its tap tone (in the waist of the shape) should be at 198HZ

...The bridge should have a tap tone (tapping down on the top edge of the bridge next to the string locations) of 198 HZ. The front surface of the bridge (side toward the fingerboard) should have an even tap tone all over and beneath each string.

...When you blow across the "ff" holes, they should produce a tone of 176 HZ, same as the top plate. ( both sides should probably be the same frequency.)

...As to exact ideal frequencies, I want to introduce you to a German researcher named Dieter Ennemoser. He has written an interesting book entitled:
"The Character of Sound" sub titled: 'on the discovery of the code by which the brain recognises the quality of sound'. ISBN # 3-907073-32-0 (c) 1990. The book is written in both German and English (in the same book) and seems to have some useful information that is valid for our purposes unless I am mistaken.
...Dieter states that our brain recognises sound quality as 'good' when the sound being heard is related to the 'transient tones for carbon at 37 degrees Celsius (body temperature)'. As I understand it, he feels that sounds are transmitted through the small bones that make up our inner ear (largely made of Carbon) best at certain frequencies which carbon at body temperature transmitts more effeciently. Dieter calls these frequencies 'typical transient tones'.
...These frequencies (in the violin making range) for an octave are:
262 285 300 322 353.5 376 396.75 427 465 486 HZ (vibrations per second).
...Now the tap tone of the parts of the violin are in the range of 142HZ to 198HZ, while all the C.37.C frequencies here are higher. So I divided each by 2, 3, 4, and 5 (related frequencies) and put them in order from lowest to highest. (see separate article).
...I then did the same with the Solfeggio frequencies (see separate article) and put the lists side by side. The matching frequencies pairs I then listed and compared those to the tap tones of the parts of my most successful instruments and there was a close association with these matched pairs. The space from one matched pair of frequencies to the next pair I am calling an 'Acoustical Step'.
...The matching pairs of the two methods are as follows:
  1. 37.C.........Soldeggio (in HZ, vibrations per second)

  1. 3.............132.0
  2. 5.............142.5
  3. 0.............148.5
  4. 0.............160.0 For the violin scroll tap tone.
  5. 0.............176.0 For the top plate, fingerboard, nut, saddle, end pin, sound holes, string bar.
  6. 5.............198.0 For the back plate, bridge and tailpiece proper (in waist area),
  7. 5.............213.0

These frequency matches need to be exact (or nearly so) and in the proper sequence, to get the special sound effect that will make a truly wonderful instrument... but then perhaps that is why there are so few truly wonderful instruments!
...I have made (and re-made, and adjusted and re-tested) enough instruments to have considerable confidence that this information will be a helpful guide to producing superior and satisfiying instruments.
...Please share your results with me so I can in turn share it with others, for the betterment of the musical experience and the enrichment of our lives.
(c) 2014 by David Langsather