The words “perfect pitch” and “absolute pitch” provoke a sense of glamour and mystery in a musician. Ear training means to train and develop his own ear, that is the practice of recognizing the notes and other exercises to develop the sense of musical color and the relation among the sounds.Relative pitch is the ability of recognizing the notes by their confront this is the ability of recognizing the distance between the notes, the so called “interval”.Perfect pitch is the ability of recognizing the pitch or name of the notes by the tune color recognition or awareness.Indeed, even if you have absolute pitch, you don't necessarily know what frequencies they have, because A could be 440 Hz or or 442 Hz or 435 Hz or 460 Hz or 415 Hz or even 390 Hz or something else. None of this requires you to know what frequencies each of these pitches has. If you're a beginning music student from a country like France or Italy that doesn't use letter names, you learn fixed do by associating each name with a particular key or fingering or combination of string and hand position on whatever instrument you're learning, and also by associating each name with a particular position on the musical staff.Ĭonsider: you can learn that a melody is F-G-A-F, or you can learn that it is fa-sol-la-fa in fixed do or do-re-mi-do in movable do. When you learn fixed do, you learn the identity of each pitch name, perhaps by associating it with a letter name. The relationship between the two systems is fixed, but in neither case is it necessary to be able to know precisely what frequency (or, more precisely, what range of frequencies) is denoted by any name. Fixed Do is a system for naming pitches, just as the letter names are a system for naming pitches. In Fixed DO Solfege, you are essentially memorizing the pitch in association with the pitch's name. Of the two, moveable do has more advantages, as everything becomes relative, dependent on key, whereas fixed do by definition, must use 'accidentals' for some diatonic notes (ecept key C!), which creates problems when singing - single syllables suddenly become impossible for some notes. If they were, they might have absolute pitch - and there wouldn't be any (pitch recognition) problems anyhow! I think your premise is skewed, as even in fixed do, most folk are not able, or capable, of 'hearing note C'.
For example, a piece in key E♭, talking about an 'F' note - in French that becomes 'fa', but to me it's 're'. For me, brought up on moveable do, it gets completely confusing, and could easily be remedied by everyone simply using the note names themselves. The two can be very confusing - and if we add actual letter names into the equation, there are now three different ways to name notes! I work with a French band, and every muso there talks in 'fixed do'. Thus in key E♭, E♭ is do, in key F♯, F♯ is do. The other option is moveable do, where we take the tonic in a key to be do. So the question is based on a questionable basis.įixed do means each and every note will have its own name, regardless of key. But that doesn't mean I have absolute (perfect) pitch ! Nothing like. After many, many years as a muso, I can recognise, or sing, a single C note accurately 9 times out of 10. Learning absolute pitch? It'something that's nigh on impossible.
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