I always thought perfect pitch was a bad idea. I've known plenty of people with perfect pitch who have a lot of difficulty tuning to people who aren't perfect - which is nearly everyone else. Plus, equal temperament isn't always just intonation, either. How do you stick with perfect pitch if an orchestra decided to tune to 442 or 444? Or if you're in a Baroque ensemble and they tune to 418? I think the best thing to do is to have good relative pitch, and know generally where notes are. For example, I can't hum a perfectly tune D on my horn before playing it, but I know where it should be thanks to the Franz Strauss Concerto and the opening note on the horn. Having perfect pitch will drive you crazy if you play it with a piano that has been tuned differently, or the strings before you are sharp. -William In a message dated 2/11/2011 4:10:41 P.M. Eastern Standard Time, [email protected] writes:
I have been trying to teach myself perfect pitch. I think if kids were taught to recognize and name pitches the way we are taught to recognize and name colors, we would all have perfect pitch. That's my story and I'm sticking with it. Wish me luck! On Feb 11, 2011 2:40 PM, <[email protected]> wrote: Steve Mumford wrote: Even some things that are seen as innate, a "good ear" for instance, may have ... Here something else that may puzzle people, yet proves your point. 90% (by some studies) of students that begin the Dalcroze method before age 5 develop absolute pitch. As an aside, Dalcroze uses fixed Do solfege. Respectfuly Submitted, Scott Young _______________________________________________ post: [email protected] unsubscribe or set options at... _______________________________________________ post: [email protected] unsubscribe or set options at https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/valkhorn%40aol.com _______________________________________________ post: [email protected] unsubscribe or set options at https://pegasus.memphis.edu/cgi-bin/mailman/options/horn/archive%40jab.org
