Look this:
http://www.pratiquemusica.com.br/ouvido-absoluto.jsp
Free...
Simple but interesting.
And ou can choose diferent instruments for practice.
Translations:
Pontos = Score
Repetir= Repeat
Erros = Errors
Começar= Start
Nível = Level
Novo Jogo= New Game
Como Jogar = How to Play
Aother good one:
http://detrave.net/nblume/perfect-pitch/
nice
though like 99% of humans, i don't have perfect pitch, and i have to rely on relative hearing (intervals) to get the answers right.
I need to put my "racism" aside, cause I do not manage well theses pitch games when sharp keys are involved.
Perfect interval it's very important too, and not everyone with perfect pitch have perfect interval.
Many people without perfect pitch, but with goo interval skills, get a music very easily from ear if you just tell then the first note of the music.
nice
though like 99% of humans, i don't have perfect pitch, and i have to rely on relative hearing (intervals) to get the answers right.
One Perfect Pitch game software for Iphone, ipod, Itune:
https://itunes.apple.com/br/app/piano-p...54424?mt=8
And this one, despite the name Perfect Pitch, it have nothing to do with training ears hability to didentify notes, but it's a quite nice game for Young people get knowledge about music facts and curiosity.
http://artsedge.kennedy-center.org/inte...fectpitch/
Thi site have good training games for perfect pitch, intervals, chords, melodic dictation and more:
nice
though like 99% of humans, i don't have perfect pitch, and i have to rely on relative hearing (intervals) to get the answers right.
A friend of mine has absolute perfect pitch and has been playing pro all his life had done 1000s of gigs. He has perfect pitch that I really did not think existed to that degree had I not seen and heard it and tested it several times. You can play a chord on the piano in any alteration after making some noise on it and within 1/2 sec he will name the chord.
He claims he hates having such a keen ear and hears the world in defined tones like when I speak to him he will say "you are speaking in Eb." A door can close and he will hear the tone. A train goes by "that a low G" (or something)
Though it may be dubious what benefit this has (other that playing outside gigs where a person can prehear the changes and play perfectly without rehearsal) this person finds this a burden and hates it. I don't believe this can be trained but having said the above if having perfect pitch can be such an annoying burden - I would care never to do exercises to learn it. Definitely would not help me with my playing
At least when I leave my piano practice room I can live a normal life like a non musician. He lives being a musician 24 hours a day and many normal sounds of day that 99 percent of people would not pay attention too he hears a defined tone every second of every day. I actually feel sorry for him that he cannot escape music or being a musician, ever.
Phil
Only 1 in 10.000 persons born with such hearing skil. It can be learned somehow, but it's not the same as someone with born with that skill.
Beethoven had perfect pitch and relative picth (I called perfect interval sometimes). I don't believe he would habe able to composse as deaf if he hadn't such skills.
Anyway you can use the site link to train intervals, chords etc.
At least when I leave my piano practice room I can live a normal life like a non musician. He lives being a musician 24 hours a day and many normal sounds of day that 99 percent of people would not pay attention too he hears a defined tone every second of every day. I actually feel sorry for him that he cannot escape music or being a musician, ever.
Phil
Drug to re-open brain deep learning for music-tones ?
https://www.ncbi.nlm.nih.gov/pmc/articles/PMC3848041/
If they discover a drug to re-open brain ability to think, learn, with reason, maybe there is hope for humanity.
Yeah! I might be able to play the correct bridge on standards!
Lanny
Interesting thought: I guess that people who do have perfect pitch would have a different concept of 'A' depending on what they initially learned and accepted as 'A'. So if they grew up with a piano that was always tuned at a certain pitch, they would accept that as 'standard A' and anything else would seem flat or sharp to them. International 'Concert pitch' (A=440) was a 20th-century innovation.
According this guy nobody can develop/learn perfect pitch after grow-up (unless the mentioned neuro drug works). At least not true perfect pitch as he defines it asa more than just find single notes alone just by ear :
https://www.youtube.com/watch?v=816VLQNdPMM
Intreresting video. If you have a very young children (younger than 5 or 6 years old), this may help you to train kids ears for musical abilities.
He even have a theory about chinese languages helps young brain to distinguish notes and sounds better.
He was who mentioned the drug to get brain back to early musical learning abilities and allow grow-up develope true perfect pitch : https://www.ncbi.nlm.nih.gov/pmc/articles/PMC3848041/
That guy is 100% correct. Perfect pitch is developed as a child, it cannot be learned as an adult.
You can, however, learn relative pitch to such a high degree that it is similar in ability to what someone with perfect pitch can do.
Perfect Pitch
---------------
Don't need a reference note to begin
Can name pitches of life sounds (paper scratching a table, jackhammer, window closing)
Can instantly name clusters of notes/chords (even among those with perfect pitch, people who have studied theory will have higher ability)
All of the above is done without having to think or process, it is similar to naming colors you see with your eyes.
Relative Pitch
---------------
Can be practiced, developed, and refined as a child or adult
Usually need a reference note to begin (some people have memorized one or a few reference notes in their head)
Is achieved through practice, and requires effort and thought to analyze notes/chords
Good description. I can pick out melodies on the piano by ear (have to work harder to get the harmonies), but it doesn't bother me if I'm playing in the 'wrong' key. Strangely, I can usually tell when a piece of unfamiliar orchestral music is in E flat major, even if it's played on historical instruments at low pitch. I think this may be due to the distinctive timbre of violin open G strings more than anything else.
Interesting thought: I guess that people who do have perfect pitch would have a different concept of 'A' depending on what they initially learned and accepted as 'A'. So if they grew up with a piano that was always tuned at a certain pitch, they would accept that as 'standard A' and anything else would seem flat or sharp to them. International 'Concert pitch' (A=440) was a 20th-century innovation.
Agreed on your choice of standardized tone: My older sister was also born with perfect pitch. She played B-flat clarinet in her high school's band. Decades later, when I ask her to identify (say) a note known as Middle C (261.6Hz in reference to A=440). inevitably she will call it a "D", one whole tone higher than C.
When the standard tuning was A415 or even A390, then surely people of the time who were born with perfect pitch would have calibrated their concept of 'A' as A415 or A390 or whatever pitch reference they happened to capture.
Cheers,
Joe
EDIT: I was raised from childhood in the presence of Hammond organs, whose Diapasons were defined as A440 and all of them were tuned to equal temperament. It is from this tonal reference that I base my own absolute pitch.
End Edit
I love it when somebody starts a thread like this one, because it really gets me thinking about the different ways in which people perceive music and sound. Much more fun than reading a newspaper!
Funnily enough, I was wondering if anybody with perfect pitch would ever choose to play a transposing instrument, and now I have my answer. Here's something else that I was wondering: Let's take a familiar piece, the Aria from the Goldberg Variations, being played on a harpsichord tuned to A415. For me, I hear that first note, accept it as 'G', and that's my reference. But, if you have perfect pitch, how do you cope with knowing that the piece is in G and hearing it in 'F#' - especially if you were following the score?
dazric wrote:<...>
Funnily enough, I was wondering if anybody with perfect pitch would ever choose to play a transposing instrument, and now I have my answer. Here's something else that I was wondering: Let's take a familiar piece, the Aria from the Goldberg Variations, being played on a harpsichord tuned to A415. For me, I hear that first note, accept it as 'G', and that's my reference. But, if you have perfect pitch, how do you cope with knowing that the piece is in G and hearing it in 'F#' - especially if you were following the score?
Hello Mr. Dazric:
As it happens, I did play first-chair B-flat trumpet in the high school band a half century ago! For those who aren't aware, when one plays an annotated note 'C' on a B-flat trumpet, the note commonly known as 'Concert B-flat' comes out! So without telling anyone at the time, I concocted a scheme and invented a new personal clef known as 'trumpet clef'(!) wherein the third space on the printed page (normally note C above middle C in treble clef notation) was defined as B-Flat.
Ironically, it was no trouble to switch to baritone, tuba or trombone because they are not transposing instruments. The notation -- and the valve positions -- are unchanged from the Concert B-flat scale to which my absolute pitch is calibrated. French Horn is another story because it is usually called a Horn in F (concert Middle C is annotated as the G above middle C); fortunately, when I deployed the trigger in a double French Horn, I could still read the notation in Trumpet Clef and correctly position the valves as I had already learned for a normal B-flat instrument,
* * * * * * *
Regarding listening to recordings tuned to A415 diapason:
I simply refused to listen to such recordings. There was an entire record catalog of Christopher "Hogwash" and the Academy of Ancient Music that I simply refused to listen to. If said recording was on the FM radio while I was driving in my car, I would switch channels or play a cassette/CD in its place. Why? When I listen to Bach's Brandenburg Concerto in G Major, it must NOT be in F# (more correctly, G-flat) major!
As with everything, there is a workaround: I have owned a record turntable whose pitch is variable by +/-10% to bring mistuned performances back to A440 for these ears. I find it so amusing to read of LP turntables whose rotational speeds are quartz-locked to 33.33RPM. That's because so many LPs of the 50's through the 80's were deliberately mis-timed by the record companies!!! If a long movement approaches 30 minutes, odds are the record company cut the lacquer copy with the lathe turning slightly slowly to accommodate the longer movement. (Consequently, when played back at 33.33RPM, the final product runs ~20-50 and sometimes 100 cents sharp!)
Another record mastering trick used in LP recordings of the same era was to anticipate the recordings to be loaded into an automatic (eg. stacking) turntable wherein the turntable would be turning slightly slow due to being weighed down by up to 4 or 5 LP discs -- so they compensated by making the final product sound sharp!
* * * * *
Luckily, with the introduction of the Compact Disc (CD), 95+% of the tuning artifacts described above ... mysteriously disappeared! Then A440 sounded like A440 rather than A445-A465, because those limitations of older turntable technology were no longer valid. Please note that reissues of LPs of the 50's through early 80's still might have the same pitch problems, unless the company uses the original master tape tuned to A440. That is why I have kept the same turntable with adjustable platter rotation speed since I bought it in 1974. (I never look at the strobe; rather, I tune those recordings by ear, usually in the form of reducing the platter speed by a few percent.)
Enough of my rambling.
Cheers,
Joe
Regarding listening to recordings tuned to A415 diapason:
I simply refused to listen to such recordings. There was an entire record catalog of Christopher "Hogwash" and the Academy of Ancient Music that I simply refused to listen to.
Joe,
This sort of dinosaur prejudice would be quaint if it weren't so noxiously akin to other sorts of prejudice... and make no mistake, the attitude you present is as clear an instance of prejudice—ie a hostile opinion or feeling lacking reason—as they come. Thankfully the serious musical world has moved on decades ago from such antiquated notions, and performance using period instruments with a wide variety of diapasons is well-established and well-cherished everywhere that musical culture flourishes.
To be sure, there are many folk around who still labor under such curiously uninformed opinions as yours (just as there are still those who hold other "strange" ideas/"values" about things in the world), and I suppose this sort of attitude gets passed-off under the aegis of de gustibus non disputandum... but, as with any prejudice, it's disagreeable and rather awkwardly offensive in being so aired. I guess all I can really say then is that if you can only listen to A440 then you're missing a lot of great music performed by great artists. 'your loss...
smh
jcfelice88keys wrote:Regarding listening to recordings tuned to A415 diapason:
I simply refused to listen to such recordings. There was an entire record catalog of Christopher "Hogwash" and the Academy of Ancient Music that I simply refused to listen to.Joe,
This sort of dinosaur prejudice would be quaint if it weren't so noxiously akin to other sorts of prejudice... and make no mistake, the attitude you present is as clear an instance of prejudice—ie a hostile opinion or feeling lacking reason—as they come. Thankfully the serious musical world has moved on decades ago from such antiquated notions, and performance using period instruments with a wide variety of diapasons is well-established and well-cherished everywhere that musical culture flourishes.
To be sure, there are many folk around who still labor under such curiously uninformed opinions as yours (just as there are still those who hold other "strange" ideas/"values" about things in the world), and I suppose this sort of attitude gets passed-off under the aegis of de gustibus non disputandum... but, as with any prejudice, it's disagreeable and rather awkwardly offensive in being so aired. I guess all I can really say then is that if you can only listen to A440 then you're missing a lot of great music performed by great artists. 'your loss...
smh
Hell Mr. Jones,
I am old enough and thick-skinned enough to take your comments in stride, as there is a lot of truth and forethought in what you had written. Agreed, it is my loss to only wish to listen to music performed at A440. My prejudice is based on personal experience and predisposition as a person born with absolute pitch; so, in a way it might be called post-judice. Here's to sharing those good experiences we happen to find in common!
Cheers,
Joe
I read everyone's views and ideas as valuable - we all have our prejudices, we are only human, but I never read Joe to be attempting anything but forward thinking, by earnestly providing us his real experiences in life - he's not pushing an agenda IMO, nor defending one. We can all take lessons in his demeanour and approach I do believe.
For many who have a musical ear, the post-industrial sounds of the world can be insultingly harsh, before factoring in pitch perfect hearing.
In my case, hearing a 'well known' piece in playback at the wrong speed (to which we are accustomed) can be jarring and as distracting as a dog barking - you can't enjoy it. It's quite apart from personal preference or ignorance.
I can hear different recordings of it - or new ones - but if I loved an old record as a child, I do have trouble enjoying that same recording transferred to say CD - not because of a hang up with the music, but because it just breaks my brain hearing the 'artifacts' revealed by being faster or slower. Faster = chipmonks / slower = something more than pitch at work, it changes mood - it's wrong 'to me' in real time.
But I can revel in a different tuning (microtonal even), in a different setting. I am prejudiced when it comes to hearing playback at a different speed (unless for production purposes in modern sense) otherwise, I'm open to a whole universe of instruments and sounds without bounds. If I become accustomed to hearing a playback of a 'recording' much loved piece, and then hear 'that same recording' played back at the wrong speed, I'd rather turn it off, unless it's one of my pieces, and I'm endlessly playing with it to come up with a new idea or new final version or something.
For me, although not pitch perfect (I can't say for sure notes), but I'd say I have some other built in 'issues' (prejudices). Maybe it's in a related territory - or more to do with memory (being mostly about getting used to recordings on stable equipment).
Oh, good example maybe.. as a child (maybe 8yrs) I was well used to the family's record collection. We were visiting a friend's place and his parents had a 'multi stacking' LP player (like Joe talks about above). I laughed at, maybe it was John Denver and some other recordings from the era, because, TO ME alone, they almost sounded to be in "Chipmunk" territory. The player speed, even though probably only a little faster than what I was used to, stood out to me alone - and as a child my ignorant response was to laugh. When asked why (in a what's "Wrong with you?" kind of way), I realised that they were used to it playing back at that faster speed, and that I was maybe rude. It was novelty to me, not arrogance - [Edit to add: big difference and I don't think anyone's trying to be arrogant here. ]
It was innocent and I think we can go through life not too affected by it - but it can make some listening tricky, if you notice these kinds of things. Many non-musical people I've spoken with about it, don't seem to notice - it seems also that not all musicians have this issue IMO - no stats.
Just for fun, here's "The Police" on a Youtube mix, where each time "Roxanne" is sung, the song is sped up by 10%
https://www.youtube.com/watch?v=HPPqOHay8fM
That "Roxanne" is hilarious!
Hearing this well known song sped up in this way had me actually LOL-ing when I first heard it so thought it was a fun one to wryly share with pitch perfect among us
In defense of Joe's distaste of ancient music tunings, you have to realize that listening to a piece in the seemingly wrong key is irritating or even painful when the perfect pitch is as natural as seeing a color. Imagine if everything is too yellow or too blue how annoying that would be. I sing in a choir and don't have perfect pitch but once a tuning is established, it's pretty stable in my head and any slight flattening when singing a cappella is really annoying to me, even a couple of Hz...I also saw an interview once of pianist Sviatoslav Richter when he was quite old, saying he could not listen to music any more because his perfect pitch was now off and everything sounded flat to him. He seemed very distressed with that.
Triggered by Joe's "Hogwash" quip, I was gamely baited and as usual came-off a bit heated—mea culpa! and thanks to Joe for his usual grace toward things—and I am indeed sympathetic to the plight of those so 'afflicted' with this sort of physical 'disability'... but the notion (semantics here, I suppose) of its being "absolute" or "perfect" somehow in reference to A440 seems to me to be utter quatsch. Diapason has of course notoriously shifted around over the years, varying greatly even from one town to the next in various epochs (and even still to some degree in our own time), and yet these vagaries of diapason were not only an accepted norm of musical practice up until the early 20th century and the rise of mass media and the recording industry, but also contributed greatly I believe to the sort of tonal possibilities composers and performers had at their disposal. To be sure, pitch standardization has its merits (and in that vein, if one must have some sort of baseline, I personally rather prefer the French diapason normal 1859 convention of A435 over our present day's A440), but it strikes me that an unfortunate consequence of all this business has been this modern-day sort of 'absolutist' attitude around diapason and its attendant impoverishment (in my own prejudicial opinion) of our musical landscape. Vive la différence is what I say...
Further, I'd suggest that the great composers of the past, if we believe that they likely had some sort of "perfect pitch", must have admitted for a great deal more color and variance around the thing than folks nowadays seem to be given to, and I wonder why that is? (Truly without pointing any fingers here, I'm obviously begging the question around the prejudice that seems to attend A440 in our present epoch.)
In any event, it's an interesting discussion and I heartily wish all well in their various musical appreciations, regardless of diapason!
cheers,
dj
Hello to Messrs. Jones, Gilles, Qexl, and Moderators of the Pianoteq Forum:
It is indeed gratifying to know the Pianoteq Forum is based on civility towards our fellow music lovers and performers. True, at times, one might inadvertently strike a nerve with a fellow forum member, and God knows I am completely guilty in this matter. (My wife of forty years is quick to point out I need to think ahead about possible consequences my words may have, especially before pressing the 'Submit' button in a given forum.) At the same time, it is wonderful that we can all act as human beings collectively, and voice our differences (and acknowledge our personal prejudices) and work things out without the forum deteriorating into a brawl of insults.
It is an honor and privilege to be an active participant in this forum. Thanks again!
Cheers,
Joe
Reading Qexl's reminiscences of wrong-speed records reminded me of this highly-regarded pop duo:
https://www.youtube.com/watch?v=-LJkNNLtDXg
I've heard it said that their vocal style was a major influence on the Bee Gees...
Hah dazric, yeah that's a little like how I heard my friend's records It sounded comedic/childish to me (still would I'm sure).
Just recollecting further, when they visited us, I played them the same album at "our speed" and they still said things like, "I don't know what you're talking about, it's the same to us". So, to them I was still just a kid wasting the adults' time with silly ideas ¯\_(ツ)_/¯