>I don't know about "develop perfect pitch" systems but I know that >many years ago I developed what was called "relative pitch". In >other words, you could play any note on a piano and I couldn't tell >you what it was,I could just guess. BUT I was playing so much flute >that you could play any note on it and I knew straight away what it >was just from the sort of texture of the sound.
What you describe is known as perfect pitch or absolute pitch: the ability to identify a note independent of harmonic context. Relative pitch is the ability to identify the relationship between one note and another.
>I started working on developing this and find now that when I am >working on a song a lot, I can just find the first note straight away >without having to play it on a piano first when practicing. I think >this is more to do with musical memory, though. It has also >considerably improved my sight reading. > >The only advantages I know of are for sight-reading, being in-tune >and general aural training and awareness.
What if the ensemble is not tuned to the standard at which you have memorized the pitches? In such a case I would expect perfect pitch to be a hinderance. I certainly don't want any of my singers singing the correct pitch according to A=440 if the rest of the ensemble happens to be elsewhere. I want them to listen and to the ensemble and to relate their pitches to the rest of the group through their skill of relative pitch.
>I never knew perfect pitch was something that could be developed but >imagine how great it would be for transcribing something you've just >heard and liked or getting through those exams where you have to >listen to a piece and name all the modulations and what keys it goes >through etc!!!!
When I work on a piece intensely I often find that I can remember the starting pitch quite accurately, but I think that good short-term memory and relative pitch are the skills needed for transcribing. I don't see how perfect pitch is relevant.
John Link
http://www.mp3.com/JohnLinkFeldenkrais
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