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Re: perfect pitch

To: brass-band@xxxxxxxxxxxxxxxxxx
Subject: Re: perfect pitch
From: Ed Carroll <musicmkr@xxxxxxxx>
Date: Wed, 20 Jun 2001 16:10:10 -0700
In-reply-to: <000101c0f8e3$b93cad40$3561063e@sircombe>
References: <000101c0f8e3$b93cad40$3561063e@sircombe>

>Sorry to start another discussion (not really):
> Have I inhereted it (I
>think my dad has it too) or
>have I developed it or what, because I've never
>done anything to purposely develop it.
>Could it be the fact that I've grown
>up listening to music since I was born or anything like that?

ALL of the above.  Some people are more genetically keyed to tonal
memory...and tonal sensitivity (sound/music grabs and holds your
attention to a higher degree than average folk.
To develop any ability takes use; being around music is usually
necessary for you to key into the fact that you have the ability.
(PROPERLY PITCHED MUSIC---choose children's toy instruments
carefully!)

I have the ability to a limited degree and sometimes find it more a
distraction than a help. It created more difficulty when moving from
one pitch centered instrument to another Eb-Bb in both saxes and
brass because I EXPECTED a particular pitch after working with one
pitch center. I also find I can identify "white" notes on the piano
more easily than the accidentals. I'll often say I think its a D or
an E when its Eb. I'm guessing this happened because so much old
school early piano music is all "white key" based. The other problem
it creates is when I use automatic transposers on organs and
keyboards. If I move the actual pitch I have to work twice as hard to
play because my ear hears a D chord when I'm playing an F chord and
my fingers (and feet) miscalculate the distance to the note I THINK
I'm reaching for on the keyboard.  Any guitar players have a similar
problem with using a capo?

SOME of what you think is PITCH memory might actually be the ability
to recognize particular overtones that occur in a particular
instrument on a particular note. For those of you who can identify
Middle C on the piano or written G on the cornet but not when it's
played on a trombone or an oboe. It is probably that distinctive mix
of overtones that you're keyed into.

It is said that Mozart's sense of pitch was so strong that either
playing his music in the "wrong" key or playing out of tune would
make him physically ill. (Didn't care much for the trumpets of his
day either!)

--

References:
- perfect pitch
  - From: Nick Walkley

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