You wanted it? So, here we go.

What is absolute pitch, exactly?

It’s not only a misnomer but an enormous lie schlepped around by academics for way too long.

Misnomer: it is absolute only in one tuning system. It has to be based on a reference pitch, so it is nothing else than relative.

True relative pitch is based on intervals, which are the most important component of melody and harmony. Intervals focus on what’s between the notes.

Imagine yourself thrown in Kazakhstan. Do they have the same reference pitch? NO!

Lie: it is not an advantage over other musicians. All it allows is to be able to sit at a table and write music you can hear in your head (it can also be achieved with relative ear).

Also, whenever you hear a note, you can mimic a parrot and say which one it is. Can you sing the note you’ve heard? If not, you suck.

Nice. Not impressive at all.

Can you, Western-trained musician, write down music based on maqamat (persian) or makamlar (turkish)?

I don’t believe you can. Until you can prove me wrong.

There are only TWO kinds of music: fixed and yes, absolute.

Fixed means that, when reading tablature (most widespread reading format), you’ll use the same fingerings no matter if the instrument you play on is tuned on D or A. That means transposition , obviously.

Absolute means that the fingerings (and the tuning) have to be modified to be able to play in the same key when switching instruments.

I’ve chosen another way of hearing. I rely solely on frequencies. I mimic the parrot with Hertzian talk instead of A-G notes (I’m not ignoring that diatonic is not chromatic, of course, and not totally overlooking double sharps and double flats, as Western music wants it…)

Over with the rant. Written in a hurry.

Next time, video showing how absolute pitch is of no use when dealing with 665 notes per octave… and how altering cents can make it even harder!

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