Do you believe pp is an essential skill in becoming excellent?
Does anybody have any programming knowledge, I’d be interested in designing a perfect pitch program based on the perfect and relative supercourse of David Lucas Burge. Da problem is, a large part hinges on the teamplayer drills, and since nobody in my vicinity can be fucked I’m pretty much fucked.
Anyways if anyone knows how to program say, additively and randomly, over 4 octaves, starting with A and C, and progressively adding all the tones we can make dis enigma public knowledge…
Also I’ll add the rest of the drills, including da relative pitch.
I personally believe it’s essential for any aspiring musician/composer.
So please anybody…
Lostincode you done hack, so this should be eazy.
BTW don’t contact me on my Dacunt@hotmail.com because, as you might have guessed it’s a fake account.
How come, it’s a very rare skill, very few musicians have it. But the ones that do have it far outnumber the ones that don’t when it comes to excellence? (Bach, mozart, chopin), even da doctah has it.
While of the mass that don’t have it only a few didn’t have pp that were any good. Schumann, Wagner, Tchaikovsky, and compared to dese others there even quite mediocre
How can you say it’s not important?
Right I’m gonna change my name the NOO.
I know that u fuckah.
There are solo drills and teamplayer exercises. The thing is that these teamplayer exercises to me at least are indispensable. As an ‘earopening’ exercise these solo exercises suffice, but in obtaining pp I really think you need the teamplaying exercises, and that in it’s very nature you can’t do on your own.
As I mentioned, there are team- and solo drills.
The solo exercises are designed to consciously become aware of the say all the tones in a chord. So you start of with a C and an E. play them harmoniously and then sing the tones from the bottom up, then you make it harder by playing say a C and a D simultaneously. Then after passing a verification round (20 right in a row) moving on to identifying the individual tones in triads, then with 4, 5 tones etc.
So basically ‘ear-opening exercises’ being able to start differentiating all the different tones within a chord. This is harder than it seems. At least if you sing based on what you really hear, not the extrapolation.
Do it regularly and you’ll notice improvement. Still quite hard. Cause it’s quite boring to do.
The teamplayer exercises really focus on the essence of perfect pitch. Becoming aware of the ’ tone-colour’. That every chromatic tone has it’s characteristics.
So you start of simple over 4 octaves with C and E. So randomly a C or an E gets played and you have to name it. Then when that goes without mistakes you name a C, E, A. (maybe not the exact order but I’ve got it summarized somewhere, cause it’s a real drag listening to these lessons, cause of the 25 minutes there’s maybe 2 minutes of what you need to know.)
Anyway then you add an F# etc. Everytime passing a verification round.
But I’d also like to add the relative pitch course which for eartraining is equally important. Here you get the basics like recognizing perfect fifths plus notation, perfect sixths etc. And recognising types of chords, dimished7ths etc.
But anyway, I propose to start of simple with the colour identification. Regarding the interface, I propose a 88 key keyboard where the computer plays a tone and you indicate the key on that keyboard. The computer plays it randomly with different levels as indicated. And when you pass a verification round you move to the next level.
Perfect pitch to me is so important for several reasons:
on a performance level:
1)Subvocalisation, say when you’re reading you tend to subvocalise very fast what your eyes see so you can understand it. You don’t read one letter at a time(one note at a time), but through subvocalisation you get the context immediately.
Without pp, you’re relying on indirect methods such as relative pitch. This slows things down(like looking up every word in a dictionary while reading). To me, it’s not surprising that the best sightreaders therefore have pp. Cause they can already hear in their head what is coming next, and can therefore interpret it appropriately straight away, even without having ever hearing the piece before.
It may help, but pp in itzelf duz not make da best sightreaderz. I’ve known an azzload of furious sightreaders (unfortunately, mah bad self izn’t one of dem), and none had da pp. You can hear whatz coming next without the pp if you have good relative pitch. I don’t like yur analogy comparing relative pitch to looking up every word in a dictionary, cuz datz not really how it iz. If you gave mah bad self a reference note, I could sing you any other note/interval within mah vocal range. N do I have da pp? No way Jose? Not trying ta brag or anything, but I’ve worked a lot on ear training, and found that relative pitch is probably about equal to pp when it cumz to actually playing muzic.
Of course, I’ve neva had da pp, so itz somewhat speculation.
Of course sightreading is a skill that apart from ’ the inner-ear’ requires hands. Pp on its own, without having an awareness of where the keys are on your keyboard, isn’t sufficiant
Again, I would have changed the poll to important instead of essential, but da Comme wouldn’t let me…
Someone with pp that never sightreads of course won’t be as good as someone without but who practises regularly.
Also a contest sightreading between(experienced sightreaders) someone without- and someone with pp, with a piece they already both know, won’t show the results particularly in favor of the pp-er.
-I’m talking specifically about the case where neither has seen the piece ever before!
-Also, I’m talking about sightreading greats: Richter, Mozart, Chopin, Brahms etc.
Who could play from first sight at the proper speed, and improvise even while doing so.
Using a roundabout, indirect methode(dictionary) slows the interpretation, recognition down(thus PP should be a top priority for any SDC member!),so to me it doesn’t seem likely there would be any rp-ers amongst the very top.
This same argument basically applies to improvising, composing, and musical awareness in general.
For example when I used to play the guitar, I made a quantum leap in progress when I learned to play chords(vs fucking about on da strings).
Because you’ve brought a system in to it, making it easier to understand and use.
Same thing with pp, once you’re able to lable what you hear it’ll be easier to understand thus to learn from. Some people with pp even while hearing a piece have the score imagined in their mind. This is easier to do when you know what each note sounds like(like knowing the alphabet and knowing what each word sounds like).
Also when looking at scores hearing in your mind how it’ll sound…
diz iz a relatively well known trick used to hide da LACK of sightreading skillz.
btw, i dun see how sighreading ability (az judged by speed n accuracy) can haff anything to do wit PP. for sightreading, wut u need iz de ability to decipher written music into precise locationz on the keyboard. if you use PP to do this, you would be adding a useless bridge: NOTES to SOUND to FINGERS. whereis the strictly mechanical approach of NOTES to FINGERS is more efficient. The brain’s immediate reaction to seeing a bunch of notes should be their precise positions on the keyboard, NOT their sound. therefore having PP can actually hinder yo maximum sightreading speed by unintentionally hogging sum of yo brain resourcez.
I understand ur delighted you can be da moderator, but pleaz…
No fuckin cocksuckin, dis topic is too seriouz fo dat shit. Anywayz I’m probably waisting me time, Da programmaz here are probably too busy jerking off to be fucked writing a simple program