Is Absolute Pitch A Waste of Time or the Holy Holy Grail of Aural Training?
As they study ear training, many musicians worry that they will never achieve success because they do not have perfect pitch. If you are one of them, don't be.
Perfect pitch is a tonal memory, which permits somebody to recognize a note without reference to another. It has some uses, but re performance or composing, it provides tiny benefit. It basically acts as just a reference pitch. Once you have developed a powerful sense of relative pitch, you will be ready to understand any music that you hear in terms of its relationships, and so after you have a reference pitch, you'll be on the same level as someone with excellent pitch.
The most important thing to understand about perfect pitch is that it does not let you become a great musician, it occurs as a result of being one. People who've perfect pitch often develop it at a young age because a child's brain acts like a sponge.
As we develop, we learn differently: by organisation. So when a young kid spends a large amount of time playing and studying music, they develop relative pitch and perfect pitch together. When we are learning a couple of years along the line, we have got to learn by associating each new piece of data with one we have already developed.
Relative pitch provides us with the tools that we need as musicians, and so we must aim for that. Curiously developing a powerful sense of relative pitch can help you to develop a reference pitch. Many musicians with great relative pitch start to recognise tones and develop a sense of perfect pitch. This is only because they've been exposed to those sounds so often that they begin to stick.
Now that you understand the distinction between perfect pitch and relative pitch, you can better appreciate why attempting to learn perfect pitch is a waste of time if you truly want to achieve better musicianship.
Perfect pitch is a tonal memory, which permits somebody to recognize a note without reference to another. It has some uses, but re performance or composing, it provides tiny benefit. It basically acts as just a reference pitch. Once you have developed a powerful sense of relative pitch, you will be ready to understand any music that you hear in terms of its relationships, and so after you have a reference pitch, you'll be on the same level as someone with excellent pitch.
The most important thing to understand about perfect pitch is that it does not let you become a great musician, it occurs as a result of being one. People who've perfect pitch often develop it at a young age because a child's brain acts like a sponge.
As we develop, we learn differently: by organisation. So when a young kid spends a large amount of time playing and studying music, they develop relative pitch and perfect pitch together. When we are learning a couple of years along the line, we have got to learn by associating each new piece of data with one we have already developed.
Relative pitch provides us with the tools that we need as musicians, and so we must aim for that. Curiously developing a powerful sense of relative pitch can help you to develop a reference pitch. Many musicians with great relative pitch start to recognise tones and develop a sense of perfect pitch. This is only because they've been exposed to those sounds so often that they begin to stick.
Now that you understand the distinction between perfect pitch and relative pitch, you can better appreciate why attempting to learn perfect pitch is a waste of time if you truly want to achieve better musicianship.
About the Author:
Scott Edwards is a pro musician and owner of Perfect Pitch Lies the web's leading resource for effective Relative pitch techniques.
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