Sunday 25 January 2009
Recommended Absolute and Relative Pitch Trainer
You can Master Absolute & Relative Pitch In Less Than 6 Weeks, Using the Pure Pitch method. Haven Bought a lot of e-books in this category, i was greatly impressed with the quality of this particular book. This is probably the best in its category. If you are really interested in improving your pitch and singing like a pro, then this offer is for you! Grab a copy of The Pure Pitch Method and Learn How to Sing Like a real pro!
Absolut and Relative Pitch Definition
The term absolute pitch (AP) denotes a person's ability to form an internal auditory image of any musical tone labeled by an appropriate symbol (note, letter) such that the person can both aurally identify an acoustically presented tone ("passive AP") and produce any tone that is denoted by its label, e.g. by humming ("active AP"). The distinction between active and passive AP does not appear to be very important, as to my knowledge there is no evidence that a person may have good active AP while failing on passive AP, or vice versa. check out The Pure pitch Method here and read more! Persons having genuine AP do recognize tones immediately and readily, i.e., without any noticeable effort and, in particular, without employing any "tricks" such as humming or whistling.
The term relative pitch may denote:
* the distance of a musical note from a set point of reference, e.g. "three octaves above middle C"
* a musician's ability to identify the intervals between given tones, regardless of their relation to concert pitch (A = 440 Hz)
* the skill used by singers to correctly sing a melody, following musical notation, by pitching each note in the melody according to its distance from the previous note. Alternatively, the same skill which allows someone to hear a melody for the first time and name the notes relative to some known starting pitch.
* developed through intense training, practicing hearing differences between major, minor, diminished, and augmented intervals
This last definition, which applies not only to singers but also to players of instruments who rely on their own skill to determine the precise pitch of the notes played (wind instruments, fretless string instruments like violin or viola, etc.), is an essential professional skill to be able to play with others. As an example think of the different concert pitch used by orchestras playing music from different styles (a baroque orchestra with original instruments might decide to use a much lower pitch). A soloist singer trying to sing in the perfect pitch would sound constantly "out of tune".
check out The Pure pitch Method here and read more!
Unlike absolute pitch (sometimes called "perfect pitch"), relative pitch is quite common among musicians, especially musicians who are used to "playing by ear", and a precise relative pitch is a constant characteristic among good musicians. Also unlike perfect pitch, relative pitch is common among non-musicians and can be developed through ear training.
Some music teachers teach their students relative pitch by having them associate each possible interval with the first two notes of a popular song. (See ear training.) Another method of developing relative pitch is playing melodies by ear on a musical instrument, especially one which, unlike a piano or other fingered instrument, requires a specific manual adjustment for each particular tone. Indian musicians learn relative pitch by singing intervals over a drone, which is also described by W. A. Mathieu using western just intonation terminology. Many western ear training classes use solfège to teach students relative pitch, while others use numerical sight-singing.
Compound intervals (intervals greater than an octave) can be more difficult to detect than simple intervals (intervals less than an octave).
Interval recognition may allow musicians to identify complex chord types, or to accurately tune an instrument with respect to a given reference tone, even if the tone is not in concert pitch.
Relative pitch has not been known to develop into absolute or perfect pitch. Most North American universities develop relative pitch in their ear training courses. This can pose difficulties for students whose musicianship is more dependent on perfect pitch, although absolute and relative skills are not mutually exclusive.
check out The Pure pitch Method here and read more!
The term relative pitch may denote:
* the distance of a musical note from a set point of reference, e.g. "three octaves above middle C"
* a musician's ability to identify the intervals between given tones, regardless of their relation to concert pitch (A = 440 Hz)
* the skill used by singers to correctly sing a melody, following musical notation, by pitching each note in the melody according to its distance from the previous note. Alternatively, the same skill which allows someone to hear a melody for the first time and name the notes relative to some known starting pitch.
* developed through intense training, practicing hearing differences between major, minor, diminished, and augmented intervals
This last definition, which applies not only to singers but also to players of instruments who rely on their own skill to determine the precise pitch of the notes played (wind instruments, fretless string instruments like violin or viola, etc.), is an essential professional skill to be able to play with others. As an example think of the different concert pitch used by orchestras playing music from different styles (a baroque orchestra with original instruments might decide to use a much lower pitch). A soloist singer trying to sing in the perfect pitch would sound constantly "out of tune".
check out The Pure pitch Method here and read more!
Unlike absolute pitch (sometimes called "perfect pitch"), relative pitch is quite common among musicians, especially musicians who are used to "playing by ear", and a precise relative pitch is a constant characteristic among good musicians. Also unlike perfect pitch, relative pitch is common among non-musicians and can be developed through ear training.
Some music teachers teach their students relative pitch by having them associate each possible interval with the first two notes of a popular song. (See ear training.) Another method of developing relative pitch is playing melodies by ear on a musical instrument, especially one which, unlike a piano or other fingered instrument, requires a specific manual adjustment for each particular tone. Indian musicians learn relative pitch by singing intervals over a drone, which is also described by W. A. Mathieu using western just intonation terminology. Many western ear training classes use solfège to teach students relative pitch, while others use numerical sight-singing.
Compound intervals (intervals greater than an octave) can be more difficult to detect than simple intervals (intervals less than an octave).
Interval recognition may allow musicians to identify complex chord types, or to accurately tune an instrument with respect to a given reference tone, even if the tone is not in concert pitch.
Relative pitch has not been known to develop into absolute or perfect pitch. Most North American universities develop relative pitch in their ear training courses. This can pose difficulties for students whose musicianship is more dependent on perfect pitch, although absolute and relative skills are not mutually exclusive.
check out The Pure pitch Method here and read more!
Definite and indefinite pitch
Not all musical instruments make notes with a clear pitch; percussion instruments are often distinguished by whether they do and or do not. A sound or note of definite pitch is one of which it is possible or relatively easy to discern the pitch. Sounds with definite pitch have harmonic frequency spectra or close to harmonic spectra.
A sound or note of indefinite pitch is one of which it is impossible or relatively difficult to discern a pitch. Sounds with indefinite pitch do not have harmonic spectra or have altered harmonic spectra.
It is still possible for two sounds of indefinite pitch to clearly be higher or lower than one another, for instance, a snare drum invariably sounds higher in pitch than a bass drum, though both have indefinite pitch, because its sound contains higher frequencies. In other words, it is possible and often easy to roughly discern the relative pitches of two sounds of indefinite pitch, but any given sound of indefinite pitch does not neatly correspond to a given definite pitch.
Click here to Grab a Copy of The Pure pitch Method!
A sound or note of indefinite pitch is one of which it is impossible or relatively difficult to discern a pitch. Sounds with indefinite pitch do not have harmonic spectra or have altered harmonic spectra.
It is still possible for two sounds of indefinite pitch to clearly be higher or lower than one another, for instance, a snare drum invariably sounds higher in pitch than a bass drum, though both have indefinite pitch, because its sound contains higher frequencies. In other words, it is possible and often easy to roughly discern the relative pitches of two sounds of indefinite pitch, but any given sound of indefinite pitch does not neatly correspond to a given definite pitch.
Click here to Grab a Copy of The Pure pitch Method!
The Perception of Pitch
Click here to Grab a Copy of The Pure pitch Method!
Pitch perception is fundamental to melody in music and prosody in speech. Unlike many animals, the vast majority of human adults store melodic information primarily in terms of relative not absolute pitch, and readily recognize a melody whether rendered in a high or a low pitch range. We show that at 6 months infants are also primarily relative pitch processors. Infants familiarized with a melody for 7 days preferred, on the eighth day, to listen to a novel melody in comparison to the familiarized one, regardless of whether the melodies at test were presented at the same pitch as during familiarization or transposed up or down by a perfect fifth (7/12th of an octave) or a tritone (1/2 octave). On the other hand, infants showed no preference for a transposed over original-pitch version of the familiarized melody, indicating that either they did not remember the absolute pitch, or it was not as salient to them as the relative pitch.
The note A above middle C played on a piano is perceived to be of the same pitch as a pure tone of 440 Hz. However, a slight change in frequency need not lead to a perceived change in pitch. The just noticeable difference (the threshold at which a change in pitch is perceived) is about five cents (hundredths of a semitone), or about 0.3% in frequency, but varies over the range of hearing and is more precise when the two pitches are played simultaneously. Like other human stimuli, the perception of pitch also can be explained by the Weber-Fechner law.
Pitch may depend on the amplitude of the sound, especially at low frequencies. For instance, a low bass note will sound lower in pitch if it is louder. Like other senses, the relative perception of pitch can be fooled, resulting in "audio illusions". There are several of these, such as the tritone paradox, but most notably the Shepard scale, where a continuous or discrete sequence of specially formed tones can be made to sound as if the sequence continues ascending or descending forever.
Repetition pitch
Pitch perception is fundamental to melody in music and prosody in speech. Unlike many animals, the vast majority of human adults store melodic information primarily in terms of relative not absolute pitch, and readily recognize a melody whether rendered in a high or a low pitch range. We show that at 6 months infants are also primarily relative pitch processors. Infants familiarized with a melody for 7 days preferred, on the eighth day, to listen to a novel melody in comparison to the familiarized one, regardless of whether the melodies at test were presented at the same pitch as during familiarization or transposed up or down by a perfect fifth (7/12th of an octave) or a tritone (1/2 octave). On the other hand, infants showed no preference for a transposed over original-pitch version of the familiarized melody, indicating that either they did not remember the absolute pitch, or it was not as salient to them as the relative pitch.
The note A above middle C played on a piano is perceived to be of the same pitch as a pure tone of 440 Hz. However, a slight change in frequency need not lead to a perceived change in pitch. The just noticeable difference (the threshold at which a change in pitch is perceived) is about five cents (hundredths of a semitone), or about 0.3% in frequency, but varies over the range of hearing and is more precise when the two pitches are played simultaneously. Like other human stimuli, the perception of pitch also can be explained by the Weber-Fechner law.
Pitch may depend on the amplitude of the sound, especially at low frequencies. For instance, a low bass note will sound lower in pitch if it is louder. Like other senses, the relative perception of pitch can be fooled, resulting in "audio illusions". There are several of these, such as the tritone paradox, but most notably the Shepard scale, where a continuous or discrete sequence of specially formed tones can be made to sound as if the sequence continues ascending or descending forever.
Repetition pitch
Defination of Pitch
Pitch represents the perceived fundamental frequency of a sound. It is one of the three major auditory attributes of sounds along with loudness and timbre. When the actual fundamental frequency can be precisely determined through physical measurement, it may differ from the perceived pitch because of overtones, also known as partials, harmonic or otherwise, in the sound. The human auditory perception system may also have trouble distinguishing frequency differences between notes under certain circumstances. According to ANSI acoustical terminology, it is the auditory attribute of sound according to which sounds can be ordered on a scale from low to high.
Click here to Grab a Copy of The Pure pitch Method!
Click here to Grab a Copy of The Pure pitch Method!
You Can Master Absolute & Relative Pitch In Less Than 6 Weeks Using The Pure Pitch Method
Click here to Grab a Copy of The Pure pitch Method!
I recently read an article about a scientific study done to try and determine why some people have absolute pitch while others don't. And you know what they said at the end of the article? They theorize there might be a absolute pitch gene! I remember laughing my head off at that... What a load of BS. That's like saying there is a special singing gene, or a guitar gene that only guitar players possess. Ah, so that explains why some people are singers and some aren't... Yeah right!
When I was born I didn't know what the note C sounded like. I had no concept of music. And neither does any newborn baby. It is a learned skill, just like language. I was 16 when I learned this skill, so that is very strong proof that there is no special gene.
absolute pitch can be taught to anyone regardless of their genetics or age. I have even taught this method to musicians who are in their 50s and 60s! It is simply a skill like any other. There is no such thing as a natural, only a student.
Click here to Grab a Copy of The Pure pitch Method!
I recently read an article about a scientific study done to try and determine why some people have absolute pitch while others don't. And you know what they said at the end of the article? They theorize there might be a absolute pitch gene! I remember laughing my head off at that... What a load of BS. That's like saying there is a special singing gene, or a guitar gene that only guitar players possess. Ah, so that explains why some people are singers and some aren't... Yeah right!
When I was born I didn't know what the note C sounded like. I had no concept of music. And neither does any newborn baby. It is a learned skill, just like language. I was 16 when I learned this skill, so that is very strong proof that there is no special gene.
absolute pitch can be taught to anyone regardless of their genetics or age. I have even taught this method to musicians who are in their 50s and 60s! It is simply a skill like any other. There is no such thing as a natural, only a student.
Click here to Grab a Copy of The Pure pitch Method!
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