PERFECT PITCH - Lesson Number 2
spy...@hotmail.com
PERFECT PITCH COURSE- Lesson Number 2.
(elaborated by Spyer2@-remove-hotmail.com- This is not an advertisement)
Hello, Folks,
This is intended to be an effort to help other people in order
that they can develop Perfect Pitch also.In this lesson,
we will focus in your attitude when listening to the notes
when practicing the little exercises just explained in the
last lesson.
THE Attitude- Passive, or Active ??
Your Attitude in Practicing the Exercises explained in the first message
about Perfect Pitch.(If you've missed it, just search the
message on Usenet: use www.dejanews.com and search for a message
of day 02/20/98 with the subject: "PERFECT PITCH My Method to you"
or something like that.
Some people asked me, if their attitude should be Active (paying
attention without making any other jobs during exercises, or Passive,
making other things while studying).
Let me explain by my own experiments.
When you get the first notes, you may, for example, take a shower, while
listening carefully to the notes you have learnt, but in the beginning,
In the first experiments, when you were still learning the notes,
you must really pay attention, BUT relaxed.Sit down on a chair, and
listen carefully to the deepness of the note been played.Just
Listen.Don't try to force to listen to something you don't know what is,
(I mean, don't FORCE the ear.Simply "let the note speak for itself".This
is the CRUCIAL understanding to get perfect pitch.You must not Force.If
you try to force it, you won't get it.Perfect Pitch is a subtle
perception.It's like catching a bird.If you come very calm, you can get
it.If you FORCE, you get Nothing! Most people who doesn't succeed in
getting perfect Pitch is due to Forcing to Hear.And most of all, It is
not memorizing process.If you try to memorize the notes, you won't get
it.All you have to do is to sit down, not sleeping, of course, but
relaxed, and don't worry about having to recognize anything.Just listen
to the note, deeeeplyyy (as I may guess you never made before)for some
times.Listen the nuances, listen to the timber, listen to the note when
it touches the air, listen to the expression of it, and think about what
it causes on you.Your FEELINGS about the notes is what makes you believe
it is not an D, but a C who's playing! Than, stop the sequencer, and
THINK about the note.What it suggests to you ?
Does it resembles a colour ?
Does it seems like an animal, or a bird flying ?
Does it seems like nothing know, but a "C" ?
(Some people may not experiment associations with colours, but having
associations directly with what I call "the essence" of the sound.
Try to hear it only in your mind, after you had stopped the sequencer,
WITHOUT singing it yet.You may sing it afterwards, just to compare with
the original.Just only think.Let it PLAY in your mind as long as you
can.The more time you can think about it, i.e as sustaining the note
PLAYING inside your head, the better.You will see that in the beginning,
it's very difficult to maintain the notes playing, for more than a
minute, without been UnTUNED.You must check frequently, to avoid
untuning the note in your head.You must check from time to time, if the
note you are thinking is really the same of your instrument.And I
suggest you try these methods with your own instrument.If you are a
singer, then use the piano instead.I don't suggest using a synthesizer
with a Senoidal sound.I don't suggest using a synthesizer.Use a piano
sound, instead.It is preferable to use a piano sound.And most of
all:Study everyday! Don't miss a day.15 minutes is still sufficient,
compared with the great benefits.If you miss a day,don't worry too much,
but avoid missing a single day, until you have got it.Some Days, you may
think you aren't having any progress, but since you are studying
everyday the exercises, YOU ARE HAVING PROGRESS!
Although You can't notice any change at first, you must pass all
stages.And there's stages where you apparently don't see any progress,
but indeed you have.Don't worry with it.Just continue the exercises.
Soon or later, with consistence of the exercises, you will get Perfect
Pitch.Some people get it in a week, some others in months, some in 1
year or more.It varies.Most people BEGINS the first degrees of perfect
pitch within 1 month.The first degrees means that you can discern the
first notes in your own instrument.Then, you will discern all 12 notes
in your own instrument.Then, you will discern all 12 notes in all
extension of your instrument.At the same time you can develop perception
of the 12 notes in other instrument.Just continue to make the
exercises.Then, you will recognize all 12 notes in the nature, in
glasses of water, in people speaking, listening to music on the radio or
TV.You even will be able to hear between Half-tones, and you will hear
why there's so much distance between Half-tones you never imagined.
Just Relax, don't be anxious about getting this marvellous thing, and
most of all, practice EVERY SINGLE DAY.
Comments to: spyer2@-removethis-hotmail.com
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Tore Lund
spy...@hotmail.com wrote:
>
> PERFECT PITCH COURSE- Lesson Number 2.
> (elaborated by Spyer2@-remove-hotmail.com- This is not an advertisement)
>
> Hello, Folks,
> This is intended to be an effort to help other people in order
> that they can develop Perfect Pitch also.In this lesson,
> we will focus in your attitude when listening to the notes
> when practicing the little exercises just explained in the
> last lesson.
I have this booklet by David L. Burge entitled "PERFECT PITCH:
Color-Hearing for Expanded Musical Awareness". It purports to be "The
*only* ear-training technique handbook for developing absolute pitch!"
(Innersphere Music Studio, New York 1981).
The gist of his method is that you should to listen for sound colors and
notice that some of their properties seem to be connected with pitch
class, and that these properties recur on different instruments with
wildly different timbres.
If this is true, it would mean (as I see it) that certain aspects of the
timbre are created in our ears or our brains, and that they depend on
pitch class to such an extent that we are able to discriminate between
them. I have not been doing these exercises for months and years, so I
cannot tell if they lead to perfect pitch, but from my own experience
with them I would say that there *does* seem to be a grain of truth in
these assertions.
The last time perfect pitch was discussed on r.m.t. I believe I saw
someone referring to this theory and quoting criticism against it put
forward by psychologists of music. Now that Spyer2 is promoting Burge's
system so heavily it could be of some interest to have these criticisms
repeated, along with other information of scientific value.
Tore
--
Tore Lund <tl...@online.no>
Matt
Hmmm, well, it is sound audiology that some portions of our perception
of timbre depend on ourselves. From outside pressure to the auditory
nerve there's a mechanical system containing open air cavities and
tubes, stretched skin, vestigial fish jawbones, another layer of
stretched tissue, fluid, and cellular flagella. The components have
their own resonances.
Whether we can train ourselves to recognize a pitch from the way it
resonates with our hearing equipment is another matter-- perception
tends to compensate for things like this, grabbing onto overall
patterns at the expense of specifics. For example, I wear high-index
glasses, and if I suddenly switch to conventional glasses, I see all
straight lines as curved--for about 20 seconds, then my perception
adjusts. The same happens switching back. This works even if I don't
move around or do something with my hands. Perhaps the muscles
supporting our eyes cause them to constantly scan around a tiny bit,
to collect differential information on which to adjust for the state
of the world. I once watched a 2-hour movie on a video projector that
had its red projection unit almost but not quite failing. By the end
of the movie I was seeing the color in the movie as normal, and after
the movie I perceived the white walls around me as pink for about 3
minutes. Is there any comparable sort of perceptual feedback loop in
hearing? I don't know, but I'd be interested in reading what people
know about this.
--
Matt Fields, A.Mus.D. http://www-personal.umich.edu/~fields/TTTB
Featured addresses: eug...@VISI-NET.COM jo...@4D.NET
wha...@wantree.com.au dns...@together.net M...@CARIBSURF.COM
manfred40
lots of studies -- one of them indicates (please correct me if I have it off
a bit) that the brain can only hear from one side at a time -- the ear
doesn't have the crossovers that the optical nerves do--- so, left ear input
goes to right brain, right ear input goes to left brain. I'D BE INTERESTED
IN KNOWING IF THE ELECTICAL IMPULSES EVER MEET- LIKE IN THE CORPUS COLOSSUM.
The brain processes these inputs by "strobing" attention/consciousness back
and forth between left and right. According to this study (saw it spoken of
on pbs-tv [Nova?] ), if two separate melodies are pumped in isolation into
respectively left and right ears, the brain, even of the "perfect pitch"
musician can be fooled into hearing a melody that is not played but is a
sort of average between the two melodies which were played simultaneously
into right and left ears.
lots more under asphasia
derl...@hotmail.com
My question regarding this is that if I learn perfect pitch using this method,
will I be able to turn it on and off at will? Sometimes knowing what note is
really sounding can be a disadvantage, and I want to continue to be able to
imagine the same recording in any key I want and to be able to sing in a
choir.
Brian Schend
derludwig@hotmail
Patrick O'Melia
Wouldn't you have to wait until someone is dead to say that they indeed had
perfect pitch ?
If a tree falls in the forest, it's sound is complex. Would you say that
the frequency of the fundamental is identifiable ?
If one were to drink a couple of glasses of wine could there perception of
Pitch be altered a bit ?
Is anyone " perfect " ? Some are probably really really close. But what's
happening is pitch processing. Once you FORCE this PERFECT label on the
process you just add confusion to what is really happening.
Bill Bailer
I am a piano tuner, and also live close to the Eastman School of Music.
I have met many people who claim to have perfect pitch. It is my
personal opinion that for those who make a big deal about it, and claim
to be bothered by music played in the "wrong key" or at the "wrong
pitch", it is a personality trait, and is not necessarilly a trait of
"perfect pitch." They all hear the same way the rest of us do -- they
just remember pitches longer than most of us. The most "perfect" of
them that I have tested, don't give a hoot about it.
Bill Bailer
wba...@cris.com, Rochester NY USA, tel:716-473-9556
Acoustics, piano technology, music theory, JSBach
Bill Bailer
There is a simple test: feed one pitch to one ear, and another to
the other ear that is about 1-5 hertz different in pitch. You can do
this with recorded pitches in headphones, microphone feeds, or direct
tuning fork listening. If you have two similarly pitched tuning forks,
you can temporarilly "flatten" one of them by placing a bit of chewing
gum near the ends of the tines.
The result is: you hear the beat rate between the two, even though you
can't hear both in one ear. The pitches have to be combined in your
brain in order to hear the beat rate. The beat rate is not as strong as
when listening to them together with one ear, but it is obviously an
effect.
Albert Silverman
In article <Pine.SUN.3.96.98022...@voyager.cris.com>,
Bill Bailer <Wba...@cris.com> wrote:
>
>I am a piano tuner, and also live close to the Eastman School of Music.
>I have met many people who claim to have perfect pitch. It is my
>personal opinion that for those who make a big deal about it, and claim
>to be bothered by music played in the "wrong key" or at the "wrong
>pitch", it is a personality trait, and is not necessarilly a trait of
>"perfect pitch." They all hear the same way the rest of us do -- they
>just remember pitches longer than most of us. The most "perfect" of
>them that I have tested, don't give a hoot about it.
This may be your "personal opinion," but you are DEAD WRONG. Those with
"perfect" (or near-perfect) pitch do *NOT* "hear the same way the rest of
us do."
And *I* should know.
Albert Silverman
(Al is in Wonderland!)
Bill Bailer
On Thu, 26 Feb 1998, Albert Silverman wrote:
>In article <Pine.SUN.3.96.98022...@voyager.cris.com>,
>Bill Bailer <Wba...@cris.com> wrote:
>
>>
>>I am a piano tuner, and also live close to the Eastman School of Music.
>>I have met many people who claim to have perfect pitch. It is my
>>personal opinion that for those who make a big deal about it, and claim
>>to be bothered by music played in the "wrong key" or at the "wrong
>>pitch", it is a personality trait, and is not necessarilly a trait of
>>"perfect pitch." They all hear the same way the rest of us do -- they
>>just remember pitches longer than most of us. The most "perfect" of
>>them that I have tested, don't give a hoot about it.
>
>This may be your "personal opinion," but you are DEAD WRONG. Those with
>"perfect" (or near-perfect) pitch do *NOT* "hear the same way the rest of
>us do."
>
>And *I* should know.
>
>
>Albert Silverman
Al,
I am eager to learn more about this subject. I have looked for an
answer, but still have not found any information on "how" people with
perfect pitch may hear "differently.
Any further information would be greatly appreciated; anecdotal,
scientific, or otherwise.
Albert Silverman
In article <Pine.SUN.3.96.98030...@viking.cris.com>,
Bill Bailer <Wba...@cris.com> wrote:
>On Thu, 26 Feb 1998, Albert Silverman wrote:
>
>>In article <Pine.SUN.3.96.98022...@voyager.cris.com>,
>>Bill Bailer <Wba...@cris.com> wrote:
>>
>>>
>>>I am a piano tuner, and also live close to the Eastman School of Music.
>>>I have met many people who claim to have perfect pitch. It is my
>>>personal opinion that for those who make a big deal about it, and claim
>>>to be bothered by music played in the "wrong key" or at the "wrong
>>>pitch", it is a personality trait, and is not necessarilly a trait of
>>>"perfect pitch." They all hear the same way the rest of us do -- they
>>>just remember pitches longer than most of us. The most "perfect" of
>>>them that I have tested, don't give a hoot about it.
>>
>>This may be your "personal opinion," but you are DEAD WRONG. Those with
>>"perfect" (or near-perfect) pitch do *NOT* "hear the same way the rest of
>>us do."
>>
>>And *I* should know.
>>
>>
>>Albert Silverman
>
>Al,
>
>I am eager to learn more about this subject. I have looked for an
>answer, but still have not found any information on "how" people with
>perfect pitch may hear "differently.
>Any further information would be greatly appreciated; anecdotal,
>scientific, or otherwise.
I did not mean that I understand HOW people with perfect pitch manage to
know the frequency of a tone that they hear.
However, I know that they DO hear "differently" from those who do not
have this ability, contrary to your statement.
spy...@hotmail.com
> I am a piano tuner, and also live close to the Eastman School of Music.
> I have met many people who claim to have perfect pitch. It is my
> personal opinion that for those who make a big deal about it, and claim
> to be bothered by music played in the "wrong key" or at the "wrong
> pitch", it is a personality trait, and is not necessarilly a trait of
> "perfect pitch." They all hear the same way the rest of us do -- they
> just remember pitches longer than most of us. The most "perfect" of
> them that I have tested, don't give a hoot about it.
No, No, Bill.
It's a pity you don't have Perfect Pitch, otherwise, you wouldn't say that!
I can't compare the manner I hear before perfect Pitch and AFTER.It's totally
different! If you haven't perfect Pitch, and you are a piano tuner, I can
imagine how a piano sounds to you...I'm a pianist, and I am also a piano
tuner.When I hear some CDs, there's some pianos that aren't well tuned, and I
HATE that! I hate when profesional tuners, let their errors come along with
the music on a CD.Normally, people who doesn't have perfect pitch doesn't
notice it, but it shocks my ears like a stone wall.Decades ago, people were
more cautious relating to this.Now, with all this technology, it should be
unforgiven such mistakes.(By the way, this is only to re-inforce that the
manner of hearing things is totally different from one to another (even with
different degress of perfect pitch-We should use the term "CLOSE" to perfect
Pitch, because as humans, we are not perfect, nor our hearing, although there
are the best guys in every matter...
All the best,
Spyer2
(People, Third lesson is coming...)
>
> Bill Bailer
> wba...@cris.com, Rochester NY USA, tel:716-473-9556
> Acoustics, piano technology, music theory, JSBach
>
>
spy...@hotmail.com
> My question regarding this is that if I learn perfect pitch using this
method,
> will I be able to turn it on and off at will? Sometimes knowing what note
is
> really sounding can be a disadvantage, and I want to continue to be able to
> imagine the same recording in any key I want and to be able to sing in a
> choir.
Brian,
I'm afraid that it's a kind of perception or knowledge that once you know,
you can't go back.It's like knowing the future.You'll never be the same.
At least to me.This perception changed ( As I suspected) my relation with
music.Some People see as a bad thing to have perfect pitch,because untuned
instruments sound horrible, But, what to do? UNtuned is UNtuned .But when
these guys talk about this I think about some OTHER guys like:
Beethoven,Bach, Mozart, Chopin,(Chopin had a special predilection to C#m),
Art Tatum...etc.
These guys can't be wrong, compared to people who don't have perfect Pitch,
simply by the fact that people WITHOUT perfect pitch don't listen to ALL
things perfect pitch guys listen, but the contrary is true.
do you agree?
All the best,
Spyer2
>
> Brian Schend
> derludwig@hotmail
derl...@hotmail.com
In article <6ddg43$j8c$1...@nnrp1.dejanews.com>,
spy...@hotmail.com wrote:
> These guys can't be wrong, compared to people who don't have perfect Pitch,
> simply by the fact that people WITHOUT perfect pitch don't listen to ALL
> things perfect pitch guys listen, but the contrary is true.
> do you agree?
Whoa, there. You're speaking in tongues! What are you talking about?
BTW, right now I'm listening to Mut, by Schubert. I know that Schubert wrote
it in g min, because I have the music. So currently I'm hearing it in g.
However, since the singer is a baritone, he's singing it transposed down to f,
so now I am hearing it in f. Now my relative pitch tells me the die
Nebensonnen ( next song on the CD ) is in the parellel major. Is it F or G?
I can hear it in any key I want to. Can you?
Brian Schend
derl...@hotmail.com
Who just decided that it would also be cool in the key