Hi guys, Welcome to the Advanced Video Search Engine, and you are watching Where absolute and relative pitch meet. That video is uploaded by PitchFeedback at 2015-08-28T12:35:08-07:00. We are promoting this video only for entertainment and educational purpose only. So, I hope you like & enjoy it. [ecSZB2KnJPk]
| Name | Where absolute and relative pitch meet |
| Video Uploader | Video From PitchFeedback |
| Upload Date | This Video Uploaded At 28-08-2015 19:35:08 |
| Video Discription | Where absolute and relative pitch meet What do relative and absolute pitch have in common? And how do they differ? Relative and absolute pitch both require a good ear. For relative pitch, you must differentiate one pitch relative to another. For absolute pitch, you must identify a pitch relative to a given set of predefined frequencies in the equal-tempered tuning system. Describing absolute pitch as relative to predefined frequencies makes it difficult to distinguish between relative and absolute pitch. In both cases you must identify one pitch relative to another. The only difference is that in the case of absolute pitch, no reference note is played: you must remember the reference pitch from your “inner ear”. In the case of relative pitch, however, the reference pitch is given. If an interval is played one note after the other, then there may be a small pause between the notes. But what happens if the pause between the first and the second note of the interval is lengthened? In this case you must also remember the first note if you want to determine the interval quality. To determine an absolute pitch, you must have heard the note at least once before, and at that time, you would have assigned a pitch with a note name. For absolute pitch possessors, this point in time can be very long in the past—they probably don’t even remember when it happened. However, this assignment of pitch to note name must have happened once. Since absolute pitch is also based on previously heard reference tones, the difference between relative and absolute pitch can be interpreted as the delay time between the first and the second note. If we speak of relative pitch, the delay time between two notes is usually under a second. If we speak of absolute pitch, the delay time can be seen as endless. However, endless time does not exist in real life. So for our purposes, we can define “endless” as longer than a day. If you can remember a reference pitch for longer than a day, this means you must have stored the pitch reliably in your mind—or “inner ear”. Speaking in terms of short- and long-term memory, the pitch reference must have been stored in long-term memory. So, how can we commit something to long-term memory? Learning a foreign language shows how: if we learn a new word, we may remember it for half an hour. But the next day we struggle to find the translation again. Through repetition and actually using the word in speech, the word will travel to long-term memory. Coming back to relative and absolute pitch, we should be able to visualize relative and absolute pitch in one graph. Both relative and absolute pitch have the same dimensions—accuracy and time—so we can make a graph to express the accuracy as a function of the time. To pass either a relative or absolute pitch test, you must answer the pitch question to a resolution of a half step. A half step is the smallest musical interval commonly used in Western tonal music. The distance from one note to the next higher or lower half step is expressed as 100 cents; therefore, to discriminate pitches, you must be able to differentiate pitches with an accuracy better than 50 cents. Let us plot the pitch discrimination ability of a non-absolute pitch possessor. If the delay time between two notes is very short, the chance that the tested person will identify a small deviation (for example, 25 cents) is very high. Increasing the delay time between the notes leads to a low accuracy (for example, 200 cents or more). That means the person can still correctly discriminate pitches as higher or lower than the reference pitch if the second pitch is played 200 or more cents away from the reference pitch. A person with absolute pitch will of course discriminate pitches better than 50 cents even after 24 hours. For non-absolute pitch possessors we can find the point where the curve crosses the 50 cents mark. This point, which I will call the absolute pitch point, is “where absolute and relative pitch meet”. It is individual or personal, and it expresses the delay time for which you can still correctly answer absolute pitch questions. Measuring and finding this point allows pushing this point and thus improving your pitch ability. Training will increase the short-term memory time and eventually lead to transferring reference pitches to long-term memory. Absolute pitch training is difficult. The problem is recognizing the limit so you can train on the limit. Only if you train at the limit can you feel and explore the steps necessary to improve your pitch memory. Thus, finding your point where absolute and relative pitch meet helps you to do effective absolute pitch training. Application examples: Learn how to tune an instrument. Learn to differentiate pitches and the direction of their relative deviation. For more information, visit http://www.tunecrack.com ecSZB2KnJPk |
| Category | Education |
| Tags | Relative Pitch | Absolute Pitch Point | Pitch Keeper Method | Ear Training | Learn to tune | Precision Listening Method | Absolute Pitch | Tuning Instruments | absolute and relative pitch meet | relative and absolute pitch meet | perfect pitch |
