Pure Pitch Method - Perfect Relative Pitch

June 5, 2010 - PRLog -- Some music teachers teach their students relative pitch by having them associate each possible interval with the first two notes of a popular song. 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.

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The perfect relative pitch is being done depending on how the person performs or applies it. It is usually done with an instrument itself and outgrows a tone may it be high or low pitch then develops into a tune. Each type of musical instrument has a characteristic sound quality that is largely independent of pitch or loudness. Some instruments have more than one timbre, e.g. the sound of a plucked violin is different from the sound of a bowed violin.

Some instruments employ multiple manual or embouchure techniques to achieve the same pitch through a variety of timbres. If these timbres are essential to the melody or function, as in shakuhachi music, then pitch training alone will not be enough to fully recognize the music. Learning to identify and differentiate various timbres is an important musical skill that can be acquired and improved by training.

It is where songs start and lives by with what is being oriented to it. Functional pitch recognition involves identifying the function or role of a single pitch in the context of an established tonic.

Once a tonic has been established, each subsequent pitch may be classified without direct reference to accompanying pitches as it develops into Perfect Relative Pitch. For example, once the tonic G has been established, listeners may recognize that the pitch D plays the role of the dominant in the key of G. No reference to any other pitch is required to establish this fact.

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This author writes about Pitch Ear Trainer at http://www.slideshare.net/rosejdaly/pure-pitch-method-pit....