the Perfect Pitch’ Ta eT] SuperCourse Version 2.0 Special Edition Smear es a Ua wi) LMC seem aaa eas ai Mies area! Mo)How to Use this SuperCourse To begin: First read pages 1-13 only, then listen to Master Class 1. Congratulations on your decision to refine your musical ear, and welcome to the Perfect Pitch® Ear Training SuperCourse! Here in your hands you have a highly specialized audio series that will give you aural training and results available nowhere else. Here you will learn revolutionary, time-tested methods—directly from the source—as David Lucas Burge explains to you in masterful detail the art of Perfect Pitch ear training. Your complete, step-by-step Master Classes are provided on your enclosed CDs or audiotapes. This handbook serves as supplemental material for your reading enjoyment. Perfect Pitch is easy to understand and fun to practice, yet the training is also very subtle—a refined art which cannot be fully grasped merely by reading a book. We have found that as musicians continue to listen to David Lucas, their comprehension is greater, their experiences are clearer, and their ear matures faster. So here, for the very first time, we are pleased to present to you a brand new, revised, and greatly expanded version of the Perfect Pitch® Ear Training SuperCourse with timeless knowledge for a new millennium. The ear training techniques you will learn here have been proven effective by thousands of musicians around the world—as well as by independent research at two leading educational institutions (see page 72). This program is also being used at music schools, colleges, universities, and by private music teachers everywhere. | The audio/handbook package you now hold in your hands includes the complete Perfect Pitch® Ear Training SuperCourse, known as VOLUME 1 of The David Lucas Burge Ear Training Library for Musical Excellence. Immediate benefits regularly reported with this course include: increased aural alertness, greater depth of sensitivity, richer percep- tion, and enhanced creativity. Benefits over several months include the full development of Perfect Pitch and advancements in a wide range of associated musical talents. VOLUME 2 of this library is the Relative Pitch Ear Training SuperCourse, the classic 41-Lesson program by David Lucas Burge that you can study separately—or concurrently with this Perfect Pitch series. (Please note that no previous experience is required for either series; you may begin your ear training studies with Perfect Pitch or Relative Pitch or both.) In these Perfect Pitch Master Classes, David Lucas talks to people from all styles, instruments, and nationalities. Whatever your back- ground or previous musical experience, we welcome you to this exciting new adventure into Perfect Pitch. Are you ready to begin? To start your Perfect Pitch training, continue reading through page 13, including Your Introduction on pages 11-13. Questions? PerfectPitch@EarTraining.com, or call (641) 472-3100. Comments and Graduation Letters may be sent to David Lucas at DavidLucas@EarTraining.com, or mailed to the publisher's address. Although it is not physically possible for David Lucas to respond personally to every letter, each one is read, appreciated, and valued.6 Thanks to: Gary Boucherle David J. O'Reilly Robert Woolfenden Glen Stalder Tina McIntosh Noelle Parnell Lynn Peterson John Soares Carole Vinograd Bausell My Parents (who provided musical training for me from age 7) Contents How to use this SuperCourse ... 4 In Loving Memory... 8 Your Introduction... 11 Perfect Pitch Defined . . . 14 Perfect Pitch: The Phenomenon .. . 22 The Riddle of Perfect Pitch ... 25 Pitch Color & Tone Color ... 32 Color Hearing & Color Association . . . 37 Perfect Pitch & Singing ... 40 Perfect Pitch & Relative Pitch ... 44 Levels of Perfect Pitch ... 53 Level 1: Color Awareness .. . Level 2: Color Discrimination .. . 54 Level 3: Refined Color Discrimination . .. 54 Level 4: Universal Color Discrimination ...55 Level 5: Spectral Discrimination . .. 57 Level 6: Aural Recall... 58 9 Concert Pitch & Tuning ... 61 10 Music: The Language of the Heart .. . 64 11 Levels of Musical Awareness . . . 66 12 Ear Teasers for Super Ears... 69 Research Briefs .. . 72 SNAUVERUAN eS How I Discovered the Secret to Perfect Pitch ...15In Loving Memory When I was a mere fumble-fingered 14-year-old aspiring pianist, I auditioned to become a student of concert pianist and teacher, Héléne Rynd Vinograd. Her demanding schedule was overbooked with students. Somehow, she accepted me anyway. This changed my life A native of Poland, she graduated from the Warsaw Conservatory with highest honors and a gold medal at age 14 (one of the youngest students ever). She distinguished herself with great honors at the famous Chopin competition, herself a third-generation student in direct linage to Frédéric Chopin. In Brussels, the Royal Conservatory conferred to her the prestigious Dipléme de Virtuosités. A 1951 news clipping quotes her: “When the Nazis occupied Belgium, I found myself alone and in grave danger. Each time I wanted to practice the piano I had to risk my life. This was a double fight—for life and for music—but | survived” After numerous symphony engagements in Europe and the USA, she immigrated to the USA at the end of World War II and taught piano at Carnegie Hall. Intensely active in our local music community, she also served as a chairwoman of the Eastern Division of the Music Teachers National Association (MTNA). Mrs. V was the classic music teacher, par excellence. Her colorful roots as a child prodigy, her deliciously artistic accent and eccentric manner, her illustrious musical training and accomplishments—she was the ideal mentor who taught with authority and inspiration. She not only played music—she breathed it. Really, she was made of music. She spoke three languages fluently—and English more than fluently! I can't remember all the details of her endless stories and childhood dramas, but she always seemed to be playing for “the Dutchess of Somewhere" or entertaining yet another royal family. I was fortunate to have Mrs. V as my teacher—and she was a strict one! | could always tell how I was doing: When I was making good progress, she would sternly keep me focused; if I had an “off week” she would lavish praise on me. Through this I learned not to crave praise from others, but instead to inde- pendently know my own merits —and be secure in them. Those fleeting four high school years left me with a solid piano technique and a priceless musical foundation. My devotion to her teaching culminated in devotion to her as a ; person, and we stayed in touch over the years. In November 1998, I visit- ed my parents near‘my home town of Wilmington, Delaware. Somehow I felt a special need to pay a visit to my piano teacher. I called up Mrs. V and a couple days later we were chatting over lunch at a lovely inn across the border in Pennsylvania. Lucid at age 85, there was never a lapse in the conversation as she . excitedly filled me in on her up- Héléne Rynd Vinograd coming recital next month. I was: My teacher grateful to let her know once again that she had laid the groundwork for my success—a fact she proudly denied in great detail to our waiter! It was our cherished last moment; the following month there would be no recital, only silence. Mrs. V will live on in my heart and in my fingers. Whenever I play, I will always remember her sweetly. I dedicate this Perfect Pitch Ear Training SuperCourse to her,Ability to hear fine distinctions of pitch is the primary musical gift and the ultimate point in the analysis of musical ability. —Frank Howes, Man, Mind and Music? 10 Your Introduction Dear Musician: While remastering the Perfect Pitch® Ear Training SuperCourse from its original audiotape format to its new CD format, I finally realized it was time to add a volume of helpful new material. People had used the program all over the globe for nearly two decades, and with their success stories and gracious feedback over the years, I had formulated many improvements that were not included in any previous version of this series. First I went back to the original audiotape master reels from years ago. I reedited these tapes from scratch, sifting out what should be included and what needed to be added or refreshed. Then I made new recordings to give you important Perfect Pitch techniques never before published —which doubled the audio content of the series. The original recordings were done years ago in a quaint church at Grand Lake, Michigan. In those days, audiotape was more the standard. So when you hear me refer to “tapes’—even when you're listening on CD—you'll know you're hearing a talk from the original Perfect Pitch series; we call them the “classic” parts of the program. You will probably be able to hear a difference in the audio qualityof the old tapes compared to the latest recordings. Also, from time to time you will hear me mention the Perfect Pitch Seminar (during a “classic” talk, of course). These days, I no longer travel to do seminars, as !am hope- lessly overbooked with many other projects in my life. Instead, I have taken great care to ensure that everything you need is right here in these Master Classes for you. The Perfect Pitch* Ear Training SuperCourse is structured into 24 Master Class sessions: Introductory Phase: Master Classes 1-4 Phase 1 (Preparatory Phase): Master Classes 5-12 Phase 2 (Pitch Color Discrimination): Master Classes 13-23 Phase 3 (Advanced Levels): Master Class 24 You will also find a supplemental support session called “Power Points” (on the same CD as Master Class 12). Listen to this session at any time, but only if you encounter a question or difficulty with your Perfect Pitch ear training. This SuperCourse set also contains the additional CD session entitled Perfect Pitch for Children: A Message to Parents and Teachers. This session is for adults to hear after they have listened to at least 12 Master Classes and have become familiar with the art of Color Hearing Technique. You will find this extra session combined onto the last Perfect Pitch CD—right after Master Class 24. To begin your Perfect Pitch ear training program, simply listen to Master Class 1. After each Master Class you will receive instructions for what to do next—including when to read the main body of this Handbook. Please listen to a maximum of one Perfect Pitch session per day, even if you have already completed your homework assignment. (It is OK—and actually ideal—to also listen to a Relative Pitch Lesson in the same day.) I know that many of you are eager and will want to hear everything all at once. But save some surprises for yourself! Take a steady pace, do each session step-by-step, and you'll get great results. So now, in these Master Classes, | would like to welcome you personally into my home, where we recorded the new portions of this course. From time to time you may hear tropical birds in the background. Please come in, make yourself comfortable, and we'll learn all about Perfect Pitch. Enjoy your listening! avid Lucas Burge Hawai'i Next step: Listen to Master Class 1Perfect Pitch \par-fikt ‘pich\: The adept musical hearing ability that enables its possessor to 1 identify tones, chords, and tonalities [keys] by ear; 2 recall or sing tones from permanent memory in correct pitch; 3 judge the sharpness or flatness of a tone by ear without an external reference; 4 enjoy a sense of pitch color akin to the sense of visual color. 5 M L Also called: Absolute Pitch, dicionary Color Hearing 8 definition How I Discovered the Secret to Perfect Pitch Tt all started as a sort of teenage rivalry... I'd slave at the piano for five hours daily. Linda prac- ticed far less. Yet somehow she always shined as the star performer at our school. It was frustrating. What does she have that I don’t? I'd wonder. Linda's best friend, Sheryl, bragged on and on to me, adding more fuel to my fire. “You could never be as good as Linda,’ she would taunt. “Linda's got Perfect Pitch” “What's Perfect Pitch?” I asked. Sheryl gloated about Linda's uncanny abilities: how she could name exact tones and chords—all BY EAR; how she could sing any tone—from mere memory; how she could play songs—after just hearing them! My heart sank. Her fantastic EAR is the key to her success. How could I ever hope to compete with her? But it bothered me. Did she really have Perfect Pitch? I finally asked Linda point-blank if it was true. “Yes; she nodded to me aloofly. But Perfect Pitch was too good to believe. I rudely pressed, “Can I test you sometime?” “OK she replied.Now she would eat her words... My plan was ingeniously simple: When Linda least suspected, I challenged her to name tones for me—by ear. I made her stand so she could not see the piano key- board. I made sure other classmates could not help her. I set up everything perfectly so I could expose her Perfect Pitch claims as a ridiculous joke. With silent apprehension, I selected a tone to play. (She'll never guess F#!) I had barely touched the key. “F#’ she said. I was astonished. I quickly played another tone. “C/' she announced, not stopping to think. Frantically, I played more tones, skipping here and there all over the keyboard. But somehow she knew the pitch each time. She was AMAZING! “Sing an E/ I demanded, determined to mess her up. She sang a tone. I checked her on the keyboard—but she was right on! Now I started to boil. I called out more tones, trying hard to make them increasingly difficult. Still she sang each note perfectly on pitch. I was totally boggled. “How in the world do you do if?” | blurted. 16 See sag “I don’t know,’ she sighed. And that was all I could get out of her! The dazzle of Perfect Pitch hit me like a ton of bricks. My head was dizzy with disbelief. Yet from then on, I knew that Perfect Pitch was real. I couldn't figure it out... “How does she DO it?” | kept asking myself. On the other hand, why can’t everyone recognize tones by ear? It dawned on me: people call themselves musicians and yet they can't tell a C from a C#? Or A major from F major?! That's as strange as a portrait painter who can‘t name the colors of paint on his palette! It all seemed odd and contradictory. “How in the world do you do it?” I blurted. T was totally boggled. (age 14, 9th grade)with our “supernatural” powers, yet to Ann and me, it was just normal. Back then, I never dreamt I would later cause such a stir in the academic world. But as I entered college and started to explain my discovery, many professors laughed at me. “You must be born with Perfect Pitch,’ they'd say, “You can't develop it” I would listen politely. Then I'd reveal the simple secret —so they could hear it for themselves. You'd be surprised how fast they changed their tune! In college, my so-called “perfect ear” allowed me to skip over two required music courses. Perfect Pitch made everything easier for me—my ability to perform, compose, arrange, transpose, improvise, sight-read (because you know the tones you're playing without looking—and my enjoyment of music skyrocketed. I learned that music is very definitely a HEARING art. 20 Oh, you must be wondering what happened with Linda? Please excuse me, I'll have to backtrack. . . It was now my senior year of high school. I was nearly 18. In these three-and-a-half years with Perfect Pitch, my piano teacher insisted I had made ten years of progress. And I had. But my youthful ambition still wasn’t satisfied. I needed one more thing: to beat Linda. And now was my final chance. The University of Delaware hosts a music festival each spring, complete with judges and awards. To my horror, they scheduled me that year as the grand finale of the entire event. The day arrived. Linda gave her usual sterling perform- ance. She would be tough to match, let alone surpass. But my turn finally came, and | went for it. Slinking to the stage, I sat down and played my heart out. The applause was overwhelming. Later, posted on the bulletin board, I discovered my score of A+ in the most advanced performance category. Linda got an A. Sweet victory was music to my ears—mine at last!Perfect Pitch: The Phenomenon Prized over centuries as the quintessence of a virtuoso ear for music, Perfect Pitch bestows on its possessor an unmatchable mastery of the musical language. In classical times, Bach, Beethoven, Mozart, Handel— and most all the musical greats—had Perfect Pitch. When Mozart was seven years old, a friend lent him a violin with a pleasing sound. Young Mozart soon com- plained that it was “half a quarter of a tone flatter” than his own violin—without a direct comparison. Incredulous, Mozart's father insisted that both violins be brought forth to compare. Of course, the child's ear proved impeccable.’ From classical to pop to rock to jazz, many current and recent superstars also possess (or did possess) Perfect Pitch: Frank Sinatra, Leonard Bernstein, Barbra Streisand, Julie Andrews, André Previn, Stevie Wonder, Nat King Cole, Miles Davis, Ella Fitzgerald, Glenn Gould, Yngwie Malmsteen, Eric Johnson, Tommy Mars, Béla Bartok, Jascha Heifetz, Paul Shaffer, Yo-Yo Ma, Yanni—the list goes on and on. In the general population, Perfect Pitch is rare. But the further up the musical ladder we climb, the more common- place the ability becomes. 9) (\!| -.cLea aa nTT e For example, at the Julliard School of Music you'll find about 10% of the students with the ability. A typical sym- phony orchestra will boast 20-40% of its membership with Perfect Pitch. Surveys indicate that half of today’s most popular recording artists have Perfect Pitch, rising to 87% for top concert performers. Professionals rate a good sense of pitch as the most valuable element of musicianship—higher than any other essential, including good rhythm, technical facility, accurate memory, intensity discrimination, and creativity.’ Even with years of formal training and the finest instrument, one's success in music always hinges on one’s ability to hear. Singers find Perfect Pitch invaluable for sight-singing, locating obscure pitches, singing in tune, and producing a correct pitch out of thin air. It’s a curious experience the first time you know that a vocalist hit a high C, or when you can tell that a singing ensemble has drifted flat. Glancing at a page of sheet music, others may see only black dots. But with Perfect Pitch, you can mentally hear how each pitch sounds. This mental ability to hear music “in color” also improves your musical memory. Perfect Pitch is more than naming individual tones by ear. You can also hear that a piece is in the key of G major and you can follow the chords by ear: E minor, A major, D seven, etc—all the layers of melody and harmony.Various skills are often confused for the ability of Perfect Pitch itself, but really, these skills evolve from a mastery of pitch. For example, Perfect Pitch does not automatically mean that you can play by ear. But if you want to play by ear, Perfect Pitch becomes your prime resource. More and more—as your ear does the work for you—you can find desired tones by ear, instead of searching by hand. Perfect Pitch (known more often in scholarly circles as absolute pitch) also adds a higher aesthetic appreciation. Acoustical psychologist A. Bachem found that “particular characteristics of certain keys, e.g., the brilliancy of A major, the softness of D flat major, can only be appreciated fully through absolute pitch” To the Color Ear, the entire pitch spectrum is a wondrous display of distinct pitch colors that dance within their musical framework, blending to form various chords and tonalities. This richness of sound extends even beyond the musical sphere into day-to-day living. For example, as your ear becomes more alert, you suddenly find that you can recognize voices on the phone, or pick up languages and foreign accents with ease. Music is a hearing art, so when you develop your ear, you touch everything in music. Every possible avenue of musical skill and talent is ultimately linked to your ear. 24 The Riddle of Perfect Pitch Many people think “either you're born with Perfect Pitch, or you're not"—and that’s that! Many consider Perfect Pitch a “gift” associated only with prodigious personalities. Often- times musicians feel that Perfect Pitch is way high above them, ever beyond their reach. It is not so. This super-refinement of hearing is not a mystical gift bestowed only on the musical elite. Most every musician has a natural but usually undernourished ability to discern exact pitches by ear. Perfect Pitch is Color Hearing. Just as you can recognize visual colors—red, orange, yellow, green, blue, violet—your ear has the potential to recognize pitch colors: C, Ct, D, Eb, etc. Your eye sees colors of light; your ear hears colors of sound. The twelve chromatic pitch colors could also be com- pared to twelve spices on the kitchen rack. Each has its own scent which distinguishes it from the others. When you smell rosemary, you know it is rosemary by its own scent, even though you have not compared it to sage or thyme. This may all sound very abstract, but once you catch onto it, you'll find it’s nothing other than normal.What blocks our sense of pitch color? Without Perfect Pitch, the common ear roams in a shadowy music world painted only in shades of grey— a world where pitches rise and fall but somehow sound all the same. But why should this be? What prevents us from hearing pitch colors? The chief reason why people—including musicians— have not developed a sense of Color Hearing is simply a lack of proper listening—a lack of aural orientation in life. Psychologists say we are about 80-90% visually oriented. Early in life we are taught the names of visual colors—red, blue, yellow—but how often does a child learn the musical colors of Ft, Bb, A? Our vision is our dominant sense, used for just about everything—except listening to music. The hardest thing our ears have ever dealt with is learning the sounds of spoken words, one of our first childhood struggles. It’s been a long time since our ears have had to perk up like that. Imagine if we had spent quality time in school listening closely to pitches in music—what would our ear have become with just a little more care? The ordinary, untrained ear can certainly enjoy all forms of music. But it hears from a more crude level of percep- dy 20 tion, asleep to more refined possibilities of experience. It is as if the ear has taken on a sort of dullness or laziness because it has never really had to listen more closely. It’s not that people can’t hear the pitch colors; it’s that the ear has never paused long enough to notice them. And it’s not that people are tone deaf. True tone deafness is rare. People who appear tone deaf are mostly lacking in musical development, that's all. There is usually nothing wrong with their hearing that cannot be amended with some simple listening techniques. No musician is tone deaf, no matter how poorly he may sing or play. A desire for music indicates a sense of enjoy- ment while listening to pitch—that doesn’t sound like tone deafness to me. But among musicians there is certainly a vast range of hearing skills. For most people, hearing is a more elusive sense than sight. And because Perfect Pitch is even subtler than our basic sense of hearing, it’s no wonder that Perfect Pitch goes long undeveloped. Most ears—and I'd reckon this includes yours—have always been capable of hearing pitch color. In fact, many musicians already hear pitch color to some extent, though they may not be consciously aware of itThe sour notes syndrome Some musicians argue that they don’t want Perfect Pitch —that such a “perfect” perception would make them “too sensitive” Some say that people with Perfect Pitch “suffer" with “too good" an ear, or that Perfect Pitch will confuse you if you transpose a score into a new key. (Transposing troubles are actually more likely due to poor Relative Pitch, which can occur even among those with Perfect Pitch.) These objections often expose a deep inner frustration, a sense of inferiority, or a lack of understanding, especially in those who may have desired—and failed—to uncover the secrets to this mysterious ability. The New Grove Dictionary of Music and Musicians comments on these sorts of notions: Arguments that absolute pitch is of doubtful value to a musician (particularly one engaged in transposition) strike one as if a majority of colour-blind people were to tell a minority of normally sighted ones that, even if they wished to be painters, colour vision is more trou- ble than it is worth. In fact it is less surprising that the few possess it than that the many are without it* Other people remain adamant that Perfect Pitch cannot be developed. But long before the successes of my own students, renowned musicians have said otherwise. Q 28 Composer and theorist Paul Hindemith wrote that his experience “time and again has proved that ‘absolute pitch’ can be acquired and developed, underscoring his statement by adding that “if not, the question may be raised whether there is any musical gift at all in a mind that cannot learn to remember and compare pitches:’” The artful quest for Perfect Pitch Perfect Pitch is a subtle art. If this were not so, everyone would have developed the ability by themselves long ago. Perfect Pitch cannot be gained merely by knowing a set of exercises or through any sort of rote recipe. As we shall discover for ourselves in our Master Class sessions, there's a bit more elegance to this training. Many people, without understanding the principles of Color Hearing, try to force the ability. Some play tones over and over in hopes to memorize them. Others unsuccessfully keep trying to judge how “high” or “low” a pitch is. I know, because I myself made these same mistakes many years ago. I learned that a pitch will not stick permanently in the mind until you perceive some special quality that distin- guishes one pitch from another; that quality is its color. Pitch color is really all in the ear; it does not exist in the objective world. Take the color blue: there's no real differ- 29ence between blue and red, except that red light vibrates more slowly. The blue color we see is really all in our eyes. Like this, there is no real sound quality difference between F and G. Yet as we learn to listen more deeply, we begin to detect a color difference. This distinction is really all in our ear, part of our natural inborn gift of hearing. Perfect Pitch is not an object, a jewel that can be confis- cated by force. It is more like a riddle waiting for the right answer that makes you say “Ahhhh!" Has it ever happened to you? You muse and fret for hours on a problem when suddenly, in a flash, you realize that the answer is the easiest thing in the world. In these moments we realize that truth dawns in childlike simplicity. Perfect Pitch is rather like this. Perfect Pitch is a riddle. But you can't solve this riddle with your mind, your intelli- gence, your logic; all the king’s horses and all the king's men cannot help you here. Instead, this riddle is for the ear. We're off to a good start. We already have an important clue: Perfect Pitch is Color Hearing. But this is not the final solu- tion, it is not the full perceptual experience; it is merely a signpost that tells us which direction to take. Proper techniques are important. But raw techniques will not work without an artful application. There is a finesse to this training: how to focus and sharpen the ear, and at the same time relax and expand the ear’s awareness. Usually 50 these goals are opposites. Here we will accomplish both together by nurturing the ear and coaxing it gently into a brand new style of listening, until naturally—of its own accord—the ear opens like a flower. The whole training is simple yet delicate. As you con- tinue with your sessions, you will resonate more and more with the art of it all. Artful listening is the speedway to your success. Remember: Every pitch has a color sound. To bring out this hidden dimension of your perception, you need a few essentials: proper understanding, step-by-step practices, artful listening, and—perhaps most important of all— the unassuming innocence of a child.Pitch Color & Tone Color Tone color, or timbre (pronounced tam-ber), is what gives each instrument its special sound. Every piano has a “piano timbre’ and every guitar has a “guitar timbre” Timbre tells you what instrument you're hearing. Each family of instruments has its own timbre—its own distinct flavor, its own tonal color. It’s easy to tell a violin from a saxophone, isn't it? Every violin has the “stringy” tonal color of a violin. Timbre makes a tone “mellow! “rich” “thin, “stringy, “brassy! “reedy/ “hollow! etc—any such quality that characterizes the sound of an instrument. Within each family of instruments, every individual instrument also has its own unique timbre. For example, a $100 violin will doubtfully possess the rich tone color of a priceless Stradivarius. What gives a tone its tone color, or timbre? Timbre is caused by the unique pattern of overtones that occur when a tone is sounded. Overtones are faint tones produced when a basic pitch is sounded. Take a piano, for example. When a string is sounded, it vibrates back and forth, right? But did you know that each string also vibrates in halves, thirds, fourths, ad infinitum? > eI These subtler vibrations cause faint overtones. So when you play C, you're not just playing C; countless overtones are also sounding, and you can hear some if you listen closely. 5 rete be te F Overtones can differ slightly from these exact pitches; they can even occur in belween two tones, as indicated. 2 AY ry Figure 1: First 15 overtones of C Try this experiment on any instrument: Using C as a starting point, play the G that is eleven scale tones higher. Listen to this G and get this pitch in your ear. Now, play your C, but listen instead for the G. Let your ear relax into the sound, and soon you may be surprised to clearly hear the G—while you play the C! This G is an over- tone of C, and remember, it will be much fainter Try this on the piano: Depress and hold Middle C, but do not allow it to sound. Then firmly—but briefly—strike Low C (the next C down). You will find that Middle C is now sounding, Explanation: The first overtone of Low C is Middle C; this overtone causes the strings for Middle C to sympathetically vibrate* *Note: This experiment will not work with all overtones due to mathematical differences between natural harmonic overtones and the contemporary Western twelve-fone scale (see pages 62-63).Try the same experiment using Middle C# and Low C. It will not work because Middle C# is not an overtone of Low C. (Low C cannot make Middle C# vibrate, nor can Middle C cause Low C to vibrate; Middle C can, however, cause the Middle C overtone of Low C to sound!!) It is the presence, absence, and relative strength of over- tones—and where they occur—that creates the tone color of an instrument. A rich sound is due to a rich abundance of overtones; the human voice, for instance, is rich with overtones. A tuning fork, on the other hand, has essentially no overtones. Figure 2 shows a sound wave of a pure tone with no timbre—it's just a simple sine wave. Figure 3 shows the sound wave of a piano. The complex overtones of the piano show up as fluctuations within the basic sine wave pattern. Every musical instrument has a unique wave patterm—a “fingerprint of sound” that lets you identify an instrument by ear. Actually, the term tone color is a bit imprecise. To me, qualities like “brassy, “reedy,’ “stringy, etc. are not really colors—they are more like tonal textures. Color is more correctly linked to pitch. Every pitch has its own color sound, which is determined by....uh.....its pitch! Pitches are specific colors that can wear many different textures. Picture this: A woman can wear a beautiful red dress, but the dress could be woven of any fabric—silk, cotton, 54 Re Figure 2: Pure Sine Wave (no overtones) Figure 3: Composite Wave Overtones show up as fluctuations in the basic sine wave pattern and register in our ear as the timbre, or sound quality of the instrument. rayon—each with a different weave or texture. Yet the color of the dress is red in each case, right? Similarly, F has a definite sound color which can be “woven” into the tonal texture of a guitar or an oboe. But whatever the instru- ment, the pitch still has the color sound of F4. Make sense? d3/ Just remember: Color tells us the pitch; timbre tells us the instrument. Because musicians are inherently poetic, we lyrically use the word color throughout our music vocabulary. In addi- tion to “tone color’ color can also refer to harmonic texture, melodic disposition, dynamics, register, ornamental and interpretive devices, and the general character of a work. Color is a unit of melodic repetition in the French Ars Nova music of the fourteenth century. All these uses of color are liberal redefinitions of a word that also has a definite meaning in physics: a quality that allows us to recognize specific wave frequencies. Some people may complain that we have added yet another definition of color to an already overcrowded list. Yet our term pitch color is exactly that: the unique color sound of a specific pitch frequency. Therefore, it seems to me that Perfect Pitch music theory should have highest dibs on the word color. Color Hearing & Color Association Since the dawn of musical history, man has associated visual colors to notes, tonality, tempo, scale degree, register, timbre, harmonic texture, compositions, and even the entire works of some composers. In the fourth century B.C, Aristotle pondered on a relationship between visual color and music in his De Sensu. In the seventeenth century, Sir Isaac Newton mathematically correlated the prismatic colors red through violet with the scale tones C, D, Eb, F G, A, and Bb'~a C scale in the Dorian mode. Beethoven, Liszt, Schubert, Scriabin, Rimsky-Korsakov, Macdowell, and other composers have expressed direct associations of musical tones and/or keys with visual color. And the impressionistic “paintings” of Claude Debussy evoke a visual counterpart in many a listener's mind. In Color Psychology and Color Therapy, Faber Birren noted: Among other composers, Liszt is credited with several pet phrases: “More pink here” “This is too black’ “I want it all azure” Beethoven called B minor the “black key” Schubert likened E minor “unto a maiden robed in white and with a rose-red bow on her breast” To Rimsky-Korsakoy, sun- light was C major, and F# was strawberry red.”This feeling of color associated to musical tones is called synesthesia—a synergy between the senses of hearing and sight. Synesthesia could also involve a smell, a taste, ora tactile feeling when listening to music. Color association is highly subjective. None of these composers associated visual colors to music in precisely the same way as another. Scriabin labeled A major as a yellow key, whereas Rimsky-Korsakov felt it to be rose-colored." The musical terms sharp and flat also seem to connote brightness and somberness in our minds, as they do when used in nonmusical contexts. For example, F# is more often associated with a bright color, while Gh—the very same pitch—is more often thought of as a darker hue. The musician and the artist seem to feel an irresistible and mystical unity between the senses of hearing and sight. Even the languages of the two are replete with related expressions: color, tone, chromatics, pitch, shading, bright- ness, intensity, volume, etc. One of the earliest references to a formal coordination of visual and musical art was by Louis Bertrand Castel in his La Musique en Couleurs (1720). Arthur Bliss wrote a symphony with each movement named after a color. And Russian composer Alexander Scriabin scored a colored light fantasia to accompany Prometheus, the Poem of Fire (1910)—the prelude for light shows and rock concerts to come. 38 For college art class, | wrote a term paper that compared visual colors with musical tones. Incredibly, I did not have any research references; instead, | wrote what I thought. Yet my teacher was so taken by the comparison that he gave it an A+ and made a copy for his permanent records. The point is, whatever our fascination between color and music, Color Hearing and color association are completely separate issues. Perfect Pitch does not rely on color associa- tion in order to recognize tones. You do not have to think of F# as red—unless of course you want to. Instead, we will learn how to hear the absolute pitch colors of tones—colors that are heard, not seen.6 Perfect Pitch & Singing To sing in perfect tune—and stay on key without any accompaniment—requires three things: 1) Perfect Pitch, 2) control, and 3) attention. We'll get to these points in a minute. But first: It always amuses me when people think that just because you have Perfect Pitch, you must be a great singer. Hah—that's a good one! I can’t tell you how many times it’s happened to me: A friend introduces me to someone and when Perfect Pitch is mentioned, I'm all ears—waiting for the new person to tell me, “Oh, I'd really love to hear you sing!" You should see their face change when I oblige. Perfect Pitch is in the ear—not in the vocal chords. It may sound ironic, but having Perfect Pitch does not automatically make you a great singer (for this, a vocal instructor is your guardian angel). You could have the best ear in the world and a really lousy voice. (Mrs. Vinograd hated it whenever I said the word lousy—she said it was a lousy word.) - Speaking of Mrs. V, I remember times at my weekly Piano lessons when she would be paging through music, 40 singing triumphantly all the way. Sure, she'd start off in the correct key (always), but soon she had traversed several tonalities in just as many lines. Typically, she would emphasize the dramatic forte parts by going four keys sharp; the quiet, somber phrases would sag in pitch accordingly. It was great fun to listen to. But don’t get me wrong; you couldn't slip a wrong note past Mrs. V—she had impeccable Perfect Pitch; she'd catch you. Not only did she know the wrong tone you played, she knew what it should have been. But a singer she wasn't, bless her heart. (My friend Richard, a fellow V student with Perfect Pitch, wasn’t giving any vocal concerts either. We won't mention yours truly.) So, you may ask, how could people with Perfect Pitch possibly sing out of tune? And how could they drift flat? Wouldn't they hear it? What good is Perfect Pitch anyway if you don’t stay in tune? Well, keep in mind that to sing “in perfect pitch” you need Perfect Pitch, control, and attention. Here's what I mean: With Perfect Pitch, you can think up any tone at any time, so you always know your starting pitch. So far, so good. But you must also have vocal control. Otherwise, the voice could waver, even while singing a single tone. Good control comes naturally to many people, others require more training. (In college, a voice major friend gave melessons; I applaud her for giving it her best shot.) If you have Perfect Pitch and your voice wavers or you sing a little out of tune, of course you can hear it. But if you're not a singer, you get used to it. Which brings us to a point that many people don't real- ize: Perfect Pitch doesn’t mean that you always keep track of pitches as you sing. If you don't pay attention to the pitches, you can drift sharp or flat just like anyone else. Sure, at any time, if you want to check yourself, you can easily hear Oh, I'm going flat. But that’s only when you choose to listen to the pitch level. Pitch level is one of many things going on in the music simultaneously. So it all depends on where you place your focus at any given time. Do you see this point? Perfect Pitch is not a computer-generated pitch-correc- tion module that automatically tracks your voice anytime you open your mouth. It’s a more artistic skill than that. You can stay on pitch, but you have to pay attention. Now, for a singer with all three together—Perfect Pitch, great control, and altention to the pitch—ah, there's a match made in heaven. Barbra Streisand comes to mind. Pavarotti. Perfect Pitch is the best thing that can happen to a singer because—like violinists—a singer actually creates each and every pitch from scratch. There are no little piano keys in the vocal chords, each with a predetermined tone! In fact, a singer constantly expresses microtonal variations 42 of pitch. Imagine a singer who never deviates from the absolutely “correct” pitch—it would sound so artificial. But it takes a great ear to hear how to bend a tone artistically— and great control to do so. This is why a great sense of pitch (both Perfect Pitch and Relative Pitch) is especially important for singers. A singer sings only as well as he or she hears. So remember: Perfect Pitch does not automatically bestow upon you a great voice. You also need your own vocal fluency—and you've got to pay attention to what you're doing! Perfect Pitch gives you one third of this magic formula—the other two parts are up to you. And one more point for singers: ; : Some singers develop a pseudo “perfect pitch" that relies on vocal tension. By becoming familiar with your vocal range, you can learn to judge a pitch by how much vocal tension is required in order to sing it. Some people can become quite accurate with this, but it’s not fully reliable due to varying vocal conditions throughout the day (we've all experienced how low and gruff our “early morning voice” can be—sometimes we talk a minor third lower and can sing tones that are impossible to reach during the day). This ability to estimate pitches—vocal tension pitch—is rarely accurate enough to be mislabeled as “Perfect Pitch; and it does not involve pitch color discrimination. For true Perfect Pitch, we have to listen and develop our Color Ear. 45Perfect Pitch & Relative Pitch At some point or another, every musician wants a better ear. From church organists to jazz pianists to self-taught rock guitarists, everybody tries to pick up music by ear and wants a shortcut. But beware: there are no true shortcuts to personal musical growth—only wise paths. Music majors must complete two to four years or more of ear training classes. Why? Because schools know that success in music depends on the ear. My personal thought is that half of all music theory should be devoted to ear training (what good is theory if you can’t hear it?), And with ear training, half should be devoted to Perfect Pitch, the other half to Relative Pitch. Relative Pitch translates the sounds you hear into a clear musical picture. Without Relative Pitch, music is like watch- ing a fuzzy TV—a jumble of unknown tones and chords that you do not fully understand. With Relative Pitch, all those tones come into focus—so you get the sharp detail of what's happening. Perfect Pitch then brings the music to life by adding color to your musical TV picture. 44 WITH Relative Pitch you hear the clear musical picture. WITHOUT Relative Pitch, the ear hears only a blurred impression of the music —the details are lost, Take note: Relative Pitch without Perfect Pitch gives you a clear picture—but only in “black and white” Perfect Pitch without Relative Pitch is like having a great color TV that’s not properly focused; you can name pitches (colors) by ear, but you may not have a clear picture of what's going on. This is why Perfect Pitch and Relative Pitch work best together. With both abilities permanently established in your awareness, you have a fully focused, color TV—the complete musical picture, the ultimate ear for success.What is Relative Pitch? Relative Pitch is the ability to communicate in the language of music. When you know any language well, you are able to more full express the finer feelings and ideas you want to convey. Music is a universal language. Most everyone can appre- ciate music. But not everyone can speak the language of music fluently. Not everyone can play, sing, or compose. The more fluent you become in your knowledge of the musical language, the more your talents unfold within you. Your ear holds the master key to all your talents, Other than Almighty God, only your ear can guide you to create music—or perform music—that penetrates straight to the heart of the listener. Relative Pitch is a refined ear for music. We can call it Relationship Hearing, or Pitch Pattern Hearing—the ear's ability to “read” the musical language. Here I do not mean the ability to read sheet music—that's a different subject. Instead, I mean the ability to understand tones and chords— the letters and words of the musical language—by ear. 46 How does Relative Pitch work? When any two tones are played, a relationship occurs between them—you hear it as a specific pattern of sound, or interval: Major Perfect Major Third Fifth Seventh There are 21 basic intervals in music, each with its own name and sound. So, why bother to learn the sound of musical intervals? Well, intervals are the raw building blocks of all melodies: — - Major Major Bertect ile! sedeIntervals are also the building blocks of all chords: Major Seventh Chord In fact, intervals are the building blocks of all music. Learning intervals by ear is our starting point on the road to Relative Pitch. The most difficult interval to learn to sing is the Augmented Fourth, the so-called “devil in music’— strictly taboo in early Christian chants. Also called the Diminished Fifth, we can easily overcome this devil with Relative Pitch ear training. When you study Relative Pitch, you learn how to con- struct every possible kind of chord—and how to recognize all chords by ear—with a sense of how chords progress and 12 40 relate to each other. Relative Pitch is a process of building a tonal catalog or “sound library” of every interval and chord—all within your mental awareness—which you can draw from and use any time you perform or compose. People often confuse Perfect Pitch and Relative Pitch. Many times musicians tell me, “I have a really good Relative Pitch, but it’s not quite perfect” The truth is, “perfect” Relative Pitch can never become Perfect Pitch, and Perfect Pitch cannot sub for Relative Pitch; each is a completely separate ability with its own universe of values. And both are complementary—like two sides of the same coin. To illustrate, let’s take our sample chord again: With your Relative Pitch, you can hear that this is a Major Seventh chord: Major Seventh Chord We now know half the information about this chord. But which Major Seventh chord is it: B Major Seventh? Ab Major Seventh? C Major Seventh? Here's where your Perfect Pitch comes to the rescue. AQWith Color Hearing, you know you are hearing a D chord. So putting the information together, we now hear that we have a D Major Seventh chord: Perfect Pitch tells you this D Major Seventh Chord Relative Pitch tells you this Always remember: only Perfect Pitch can tell you “D? and only Relative Pitch can tell you “Major Seventh” See how they're great team players? Perfect Pitch tells you EXACT tones. Relative Pitch tells you the QUALITY of the tones you hear: Major, Minor, Dominant, Sharp Five, etc. Simply put, Relative Pitch lets you understand the tones you hear. If someone with Perfect Pitch says he can identify a “Dominant Seventh Flat Five Chord," he is not really doing that with Perfect Pitch. That is his Relative Pitch speaking. Perfect Pitch tells you each tone in a chord, but not the kind of chord. This is the domain of Relative Pitch. Now you can see why, contrary to popular belief, Perfect Pitch should not be considered “superior” to Relative Pitch. 50 Relative Pitch tells you how all the tones fit together —intelligently—to create this effect we call music. Actually, it is your Relative Pitch that ee : nein you can clearly hear all tones in the chord, or fol ~ oe harmonies in a song. Remember: skills having ot lo wi the clear musical picture are skills of Relative Pitc ; Pitches, when considered individually, cannot ¢ ca le A music. It is the relationship between tones—the inc k : tones—that creates this effect we call music. While ae fect Pitch is the only way to master exact tones by ee Relative Pitch gives you a sense of music in motion. ' is i why Relative Pitch is essential for speed te ° a To illustrate, let's pretend that each page of this han book is a different color. bee a good visual color sense, i e the color of any page. ut ee 's say I flip quickly through all the pages of this book—brrrrrrrup—and I ask you to name all al co es Can you do if? Of course not. No one can see ite name ‘ colors that fast. It's too confusing. Yet there's nothing wrong with your color vision!Like this, Perfect Pitch lets you identify any tone you hear: C, C4, D, ete. But there's a physical (or is it mental?) limit as to how fast you can hear pitch colors. This is where Relative Pitch comes to the rescue. For speed recognition of music in MOTION, Relative Pitch is a must. Again, let's say you have a song you want to hear and write down. The melody and the chords are moving rather quickly. Your Perfect Pitch tells you that you're in the key of G major and the melody began with a D. That's great for starters. Now, as you continue to listen, your Relative Pitch comes into play. Gradually—or quickly—the melodies and harmonies come into full focus. Now you're hearing the complete musical picture. It’s really hard to say where Perfect Pitch leaves off and Relative Pitch begins. The truth is, they simply work together. Sometimes you catch the color of a tone, other times the relationship comes more into play. But wherever your atten- tion goes, you get the total musical picture—in full color and in full focus. This is why we say again and again: Perfect Pitch and Relative Pitch together make the ear four times as powerful as cither skill separately. When you train your ear daily with both Perfect Pitch and Relative Pitch, you'll find that each skill opens your ear in a completely different way, yet each skill dramatically speeds the development of the other. 52 Levels of Perfect Pitch As you develop Perfect Pitch, your ear progresses through several stages that indicate your progress. Let's consider each step towards fully established Perfect Pitch. @ LEVEL 1: Color Awareness The first stage of Perfect Pitch is when you become aware of colors of pitch. When you know how to listen, as we have discussed in our Master Classes, you can experience your first taste of these colors immediately. Most people begin to hear right away. If not, then we never force. Instead we allow the ear to relax, and soon we will naturally begin to notice little differences in the tones. Color Awareness is not a clear experience of pitch color —it is just a first taste. It’s an innocent and undeveloped stage when the ear first starts to pick up on this new and abstract experience, similar to a child who begins to notice visual colors but can't yet label them. More listening is required to get to the next level.@ LEVEL 2: Color Discrimination The basic level of true Perfect Pitch. When your Color Awareness matures into Color Discrimination, your ear can identify the tones on your own familiar instrument. @ LEVEL 3: Refined Color Discrimination When your ear has become quite familiar with each pitch color, it begins to sense color variations within each single tone—so you can tell if a tone is sharp or flat. When a tone is sharp or flat, it starts to take on the color of its neighboring tone, just as red melts into red-orange before arriving at orange. If a flat F is sounded, the ear with Refined Color Discrimination will hear it as “colored” some- what with the sound of E. This experience is nof a matter of judging whether a tone sounds higher or lower than it should. Instead, you actually hear that the COLOR of the sound has shifted. (If this doesn’t make any sense, don’t worry—you'll experience it for yourself in Master Class 24.) Mozart used his Refined Color Discrimination to evalu- ate the violin pitches in the story we told earlier. 54 @ LEVEL 4: Universal Color Discrimination Pitch color is almost always best experienced on your most familiar instrument. A guitarist, for example, may be able to identify pitches easily on the guitar, but he may be unable to identify tones on a flute. This surprising situation can be very striking; you have fully developed Perfect Pitch on your own instrument, yet you seem helpless with all other musical pitches. For some odd reason, your ear can- not locate the pitch colors on other instruments. What causes this phenomenon? What veils the pitch color in another instrument? Timbre is the culprit. Let’s recall that timbre—tone color —is the textural form that a pitch takes; it is the quality of sound that gives each instrument its own identity, its indi- vidual fingerprint of sound. When your ear learns pitches on your familiar instru- ment, it is not confused by timbre because the timbre remains constant; you are intimately familiar with the sound of your own instrument, so timbre is not an issue. Let's say a pianist is learning pitch colors on the piano. All the tones on his piano have the timbre of a piano (obviously). This timbre is on the surface level of hearing; anyone can tell a piano by its sound. Our pianist’s ear va wabecomes accustomed to this surface value of the tones and gradually settles in to hear the deeper pitch colors. Once he can hear the pitch colors clearly, the result is Color Discrim- ination—Perfect Pitch on the piano. Now bring in a new instrument and see what happens: Our pianist—who was listening so deeply to the tones— suddenly hears a new timbre on the surface level of his perception. The moment his attention goes to the surface, he loses the more abstract experience of pitch color at a subtler level. See how it works? But don't worry. The ear soon learns to dive back into the sound to again hear the pitch colors. Each new sound is more easily mastered than the last, until finally, it makes no difference what new sound comes to the ear—all pitch colors are clearly perceived through the “disguises” of many different timbres. This is Universal Color Discrimination, the ability to recognize pitches universally, regardless of timbre. A side benefit also comes to the musician with Universal Color Discrimination. When timbre no longer hides the pitch colors, it means your ear has learned to sort out the pitch color from the tone color. This gives you 1) greater pitch color discrimination, and 2) (your side benefit) a greater sense of timbre discrimination. This is when you'll really start to notice that you can recognize voices on the phone and pick up foreign accents. The ear becomes highly alert. 56 The following equation describes this level of Universal Color Discrimination: REFINED REFINED UNIVERSAL COLOR 4 TIMBRE — COLOR DISCRIM- DISCRIM- DISCRIM- INATION INATION INATION (Level 3) (Level 4) Here is an example of how development of Perfect Pitch extends even beyond the scope of musical talent. @ LEVEL 5: Spectral Discrimination As your ear settles into Universal Color Discrimination, it again can start to judge to some degree in between tones. Spectral Discrimination is Refined Color Discrimination on any instrument (or non-instrument). Your ear becomes sensitive to the complete color spectrum of pitch in all its forms and manifestations. r/@ LEVEL 6: Aural Recall Aural Recall is the advanced achievement of the Color Ear. Even without actually hearing a tone, you can imagine what the color of a tone sounds like. This gives you the precise pitch (we'll talk about that in a later Master Class), In this way you can sing a tone out of thin air at any time. Aural Recall demonstrates that you have attained the clearest perception of pitch color. It is always more subtle to imagine a pitch color in the silence of your mind than it is to hear a pitch color as a live tone. These progressive levels of color awareness are not completely isolated from each other. They merely indicate advancements on the ear’s path to Perfect Pitch. It is quite possible, for example, to have a very good Aural Recall, yet not possess a high degree of Universal Color Discrimina- tion. But when we establish each level solidly, Perfect Pitch becomes complete. Now—how to attain each of these levels of Perfect Pitch? This we will discuss in our Master Classes! How long does it take? During college, | taught piano lessons to three sisters —average American teenagers from ages 15 to 17. Before starting individual lessons we would meet as a group for ear training. Soon they were eagerly competing for first place in naming tones. Instead of Can Perfect Pitch be developed? it was more a question of Who will name the tone first? Experiences like these encouraged me at a young age that Perfect Pitch can be acquired by any reasonably talent- ed musician with just a little guidance. (We will talk about young musicians on our supplemental session entitled Perfect Pitch for Children.) Development of Perfect Pitch takes its own time. It all depends on where your ear is at. You could be a great performer, yet your ear could still be a litle closed. Or you may be a total beginner with an ear so naturally ripe that you may barely have to practice. I have seen both extremes. Wherever we find ourselves, we simply smile and take up our training from there, knowing that—without comparing ourselves to others—we are getting exactly what we need at this time. I hesitate to answer when I am asked “How long does it take to develop Perfect Pitch?” because it is an entirely personal consideration for each individual. But if you insist, then I will say to allow yourself six months to a year tocomplete this training, provided that you practice the Color Hearing Technique exercises daily. For any musician, it takes time to become a seasoned performer—many hours of daily practice, working and reworking your technique, polishing your interpretation, adding to your theoretical knowledge—all in the quest for greater musical fluency. Your ear is certainly no less important than these— in fact, it is your ear that guides all these. The time you invest in your ear now will pay rich dividends all the days of your life. There are no true shortcuts to personal musical growth —only wise paths. 60 Concert Pitch & Tuning Concert pitch is the international standard of pitch where A above Middle C equals 440 vibrations per second (440 Hz). A “concert A" is an A on the piano, a B on a Bb clarinet, and an F¥ on the E} sax. Since all these tones are the same concert pitch, they all have the same pitch color sound. What we call a tone has zero effect on its sound. Pitch standards were quite ambiguous in the sixteenth and seventeenth centuries, with concert A vacillating any- where from 373 Hz to 567 Hz!" In Bach's day, a concert A was often tuned as low as 415, which would sound like Ab to our contemporary ear. The tuning fork was invented in 1711 by English trum- peter John Shore; Handel had one of Shore's original tuning forks, tuned to A-422.5. Mozart tuned his pianos to A-422” If these composers were alive today, their Perfect Pitch would be equally as valid; they would merely have to adjust themselves to our present standard of pitch. Again, what we call a tone is not important—Perfect Pitch is not the labeling of a tone, it is the perception of the pitch color. You can label pitches in any way you please. oOOriginally, the term concert pitch meant the brilliant pitch of an orchestra in concert—the clever practice of tuning slightly sharp to give the music an added lift. Even people without Perfect Pitch will notice the effect, though not always consciously. Over time, pitch standards have shifted higher and higher as orchestras aspire for ever increasing brilliancy. Some people may wonder how the use of equal-tem- pered instruments relates to Perfect Pitch. Equal-tempered tuning is the contemporary Western way of fixing succes- sive pitches at mathematically equal distances. When spaced in this fashion, tones are not always precisely in tune with the natural harmonic overtone series. The predecessor of equal-tempered tuning is just tuning, where tones are adjusted slightly as compared to equal temperament in order to align them with the natural over- tone series. Just tuning is theoretically the more perfect system because it produces the more consonant harmonic intervals, but an instrument so tuned can be played well only in the one key to which it is tuned. If other keys are attempted, a piece will sound out of tune. Johann Sebastian Bach formally introduced the world to equal tempering in his Das woliltemperierte Klavier (1722). This volume was a progressive ideology in its day, consisting of 62 preludes and fugues in each of the twelve major and twelve minor keys—an effort to prove to the world that all the tonalities in an equal-tempered system are musically self- sufficient and pleasing. Bach, who had a fully developed Color Ear, would not have advocated a system of tuning that would be musically unsatisfactory to the ear. While it is true that just tuning is more ideal, it does not offer the wide range of harmonic possibilities available in equal-tempered tuning. Tuning depends to a large extent upon personal taste and what the ear is accustomed to. It is not necessary to become a tuning fanatic. Just keep your instrument in good tune—and then forget about it. Your ear will not become hampered in acquiring pitch color discrimination with slight tuning discrepancies. After all, you learned to identify “red” even though every “red” you see is slightly different in hue.1 Music: The Language of the Heart Every musician knows the power and influence of sound. Its waves can create anything from a single tone to a rich symphony or, at another extreme, they can shatter glass or crumble the walls of Jericho. Certain sounds have been shown to stimulate plant growth while others inhibit life. Plato discussed the effects of the Greek musical modes on the human psyche. Early Christian musicology recognized these influences and extracted only those modes leading to edification. The traditional Jewish modes “were an esoteric secret of the priestly class" designed to “attune the human soul to the various emotions expressed in the Scriptures and post-Biblical poetry of Judaism!” Mystics of the East proclaim that the entire universe is a manifestation of one basic vibration that emanates from eternal silence. Sound, when organized, has a profound effect within the human soul. Any emotion or feeling can be encoded in sound and broadcast to the heart of another. Whatever the music is, whatever passions it has captured, these are rendered afresh in the receptive heart of the listener, just as sympathetic vibrations jump from one string to another, 64 The true Master of Music goes beyond an academic degree. He is a master of coherent sound. He knows how to compose a musical phrase so there is maximum synergy between his inner impulse and the heart of the listener. He can reenergize a phrase during his performance to ensure a responsive penetration into the very core of another Pe human being. From a deep fountainhead of inspiration, his feelings spill freely into all his music, and his music moves all those who listen. ch ; The greatness and strength of a musician are ultimately contained in the depth of his inner awareness, and the degree to which he can express this outwardly. In Greatness in Music, Alfred Einstein wrote that “greatness means the construction of an inner world, and the communication of this inner world to the physical world of humanity’ an Music is the heart speaking. Each beat of the music is really the beat of our heart's desire. When a musician enjoys the depth and clarity of a well-tuned ear, his music resonates with a new energy and power that can beckon the hearts of multitudes. on| 11 Levels of Musical Awareness @ Level 1: Simple Hearing Alias: Perceptual Hearing Experience: Raw tones Basis of perception: The sound of the music Insight: Simple enjoyment Level of Nonmusicality @ Level 2: Music Appreciation Alias: Conceptual Hearing Experience: Rising musical sense Basis of perception: The feel of the music Insight: The effects the music evokes Level of the Music Student @ Level 3: Relative Pitch Alias: Relationship Hearing (horizontal hearing) or Pitch Pattern Hearing Experience: Understanding and speaking the language of music—fluently Basis of perception: Musical architecture (structure) Insight: How all tones and chords fit together intelligently to create this effect we call music Level of the Musician @ Level 4: Perfect Pitch Alias: Color Hearing (vertical hearing) Experience: The essence of music—pitch Basis of perception: Pitch Color Insight: Mastery of exact pitches by ear Level of the Artist @ Level 5: Master Virtuoso Ear Alias: Resonance Hearing (inner hearing) Experience: The source of inspiration Basis of perception: Deepest level of the heart Insight: How to evoke specific feclings in the listener Level of the Music Master 67This Chapter is for use with Master Class 24 / Phase Three and for all Perfect Pitch® Ear Training SuperCourse Graduates. 68 1 2 Ear Teasers for Super Ears Congratulations, you've developed Perfect Pitch! During high school days, I hung around with my pianist buddy, Richard, the one I told you about who also took lessons from Mrs. Vinograd and who also has Perfect Pitch. We used to have fun thinking up all sorts of outrageous tests for each other in order to challenge our hearing. Here are some of them for you to experiment with. Do not feel that most of these are “impossible’ because they aren't. Give them a try; it’s fun trying to outwit each other as you further sharpen your Perfect Pitch. @ Listen closely to all pitches you hear. Have friends with various instruments play tones so you can identify them on many different instruments. Listen for the key in which songs and pieces are played on the radio, at concerts, and on records. Listen especially to any miscellaneous sounds that you hear—car horns, church bells, doorbells, whistles, sirens, glasses of water, etc.—and note the pitch(es). Some- times you have to really listen carefully! My friend Ann (remember?—the one I told you about in chapter 1 who developed Perfect Pitch with me), well, she had a Siamese 69cat that meowed clearly and consistently on a B>! In these early days with your new Perfect Pitch, you may still feel a little green with your ear. This is normal! Just keep on listening—and carry a tuning fork so you can check your- self anywhere on the fly. As your ear continues to sharpen, you'll gain confidence in your judgments; later you will no longer feel the need to check yourself. @ Tune your guitar or other string instrument to concert pitch by ear alone. Check yourself with a tuning fork or tuner. This exercise will culture your Refined Color Discrim- ination (or Spectral Discrimination for nonguitarists). @ Locate an entire octave of diatonic (scale) tones. Leave one out and play all the others simultaneously in one tone cluster. Have your partner name the missing tone. Repeat, using scales in different keys. Hint: First listen for and iden- tify the keynote of the scale being played. Then “climb” the scale with your ear while listening for a “gap” in the tones. @ Play all but one of eight consecutive whole-tone scale tones, together in one tone cluster. Name the missing tone. @ Play five to ten tones in any kind of chord pattern. Name all tones in order from bottom to top. This is tricky because sometimes a few tones may be difficult to hear. Be sure the player strikes the chord very evenly. Also, because your ear 0 fu is so sharp, you may hear overtones and confuse them for actual notes. Watch for this! This is an even better exercise when you use half steps and whole steps. @ Play all but one of seven to ten consecutive chromatic tones together in one tone cluster. Name the missing note plus the low and high tones of the series. @ Find a partner who plays your instrument. One person plays scales starting in any key, moving up to a successive chromatic key upon completion of each scale. The other must locate the tones by ear and join in playing exactly together. The goal is to be sure on the first attempt so that tones played in error do not cue the ear. This same drill can be practiced with chromatic scales and arpeggios, and (on keyboards) octaves in any pattern. i Listen to some modern progressive music. Choose any note and listen for it somewhere in the music. Mentally go up the chromatic scale until you have listened for—and picked out—every tone in the chromatic scale. M Using any score, take a melodic line and $ LO WLY listen to the pitch color of each tone in your mind. Even if you can fluently read the score, go very slowly, listening : mentally until you perceive the pitch color of each tone. This exercise will make you a master of Aural Recall. Have fun! 71 /Research Briefs The debate about Perfect Pitch had raged for centuries: Can you develop it? Or is it a supernormal hearing skill that only the elite are born with? Then in March 1981 David Lucas Burge intrigued the music world when he revealed his surprisingly simple secret to Perfect Pitch acquisition. Al the time, no research was available to substantiate his methods. Even so, thousands of musicians took up the program and quickly validated the training. Independent research from two universities would later also verify Burge’s methods. Here, from a previously published interview, are comments from David Lucas with brief highlights from both of these studies—tresults and conclusions that will surely ripple out to the music community for generations to come. STUDY #1 Students become Perfect Pitch possessors Research on Burge’s method was first conducted at the Ohio State University by M. A. Rush. To make a 401-page story shorter: As many as “three of the five subjects who completed the training regimen actually became possessors lof Perfect Pitch!"”—despite a limited training period and certain testing shortcuts. This achievement undoubtedly raised many brows, reflecting a startling breakthrough in music self-develop- ment. You'd think Burge would be ecstatic to add this new support to that of thousands who have already taken his Perfect Pitch® Ear Training SuperCourse. But he was unmoved. “Three successes out of five is not so great’ Burge asserts. He notes that some of his basic instructions were not fol- lowed in the experimental procedure. “Since participants were tested on piano,’ Burge says, “pianists should have been used as subjects” Why? “Because at first you begin to recognize pitches on your own instrument,’ he explains. “If you are a flutist, you can quickly learn tones on flute, but your ear might not catch pitches on piano or other instruments right away. At this beginning stage it wouldn't make sense to test you on piano if your Perfect Pitch skills are on flute”Q. Can you develop Perfect Pitch on other instruments as well? “Yes,” Burge continues. “Once you've mastered the tones on your familiar instrument, your ear opens further. You gain the ability to recognize pitches on any instrument, including environmental tones—horns, sirens, birds, etc. But the training goes faster initially if you establish a foun- dation on your primary instrument” Q. Why is it easier to recognize tones on your own instrument at first? “Because you are most familiar with its sound. You have already played it for countless hours, and your ear is com- pletely saturated with that particular quality—timbre. So without even trying, you have already prepared your ear to recognize pitches on your instrument” Also: “When you practice your instrument, your ear immediately incorporates the benefits it has gained in your daily ear training session. This helps you in the first stages of development” Burge also notes that “Rush was rushing the partici- pants." He refers to the fact that Rush set a “predetermined training goal" which subjects “pledged themselves” to accomplish by Rush's cut-off date. To provide incentive, Rush offered prize money to be split by the winners” 74 Burge's response: “A budding rose can only unfold so } much in a day, no matter how much sun or water you give it. Your ear is like that rose—you don’t want to rush it or you'll spoil it” ; ; ; Burge advises musicians to listen just 15-20 minutes in a sitting—and then forget about it. “We never force or hurry in any way. And we don't go on to the next drill until we've mastered the one we're on. It’s so simple” Burge says that listeners will always do better without a race to the finish line. Despite these departures from Burge's method, the | : results were quite a finale. Rush reported that his statistics “clearly indicate dramatic improvement as a result of [Burge’s] training [which] was found to be significant for all measures of absolute pitch ability” What is the experience of Perfect Pitch like? Students commented on their brand new Perfect Pitch abilities: What's really strange is listening to the radio and naming the pitch.-This has been especially helpful in sight-reading skills (with or without my instrument... It has improved my tonal memory greatly. I can now tell when someone is playing the same piece in a different key than from when | heard it several days before.” waMy overall ear develo er and sharper, Pitches [ai focused” ped; I hear things much clear- re] much more definite and It sharpened m and express the ov from practicing... Y ability (0 listen, hear inner tones erall music..1 derive more pleasure A sax player says: Intonation problems seem to be me. When play’ what I need to b : much more obvious to ing with groups it is easier to detect do to play in tune.2* A vocalist envisi i Islons an entire ensemble e whose m 1 have taken Burge's course: embers Imagine the perfect intonation P and vi starting pitches. Thanks!” mt not having to give STUDY #2 Perfect Pitch is like learning how to swim At the University of Calgary (Alberta, Canada), another research study was completed by Marguerite Elaine Nering. After students had used Burge's Perfect Pitch method just a few minutes daily, Ms. Nering found these astounding results—after a listening period of only hvo months: Of the six highest-ranking experimental subjects..., {four show acquisition of the ability at one level or another lital hers}” Although literature has shown the powerful associa~ tion between..early age and Perfect Pitch possession, this experiment has shown that by training in the Burge method, the ability can be improved and even acquired among adults...This improvement can take place in a fairly short time, as was the case in this experiment. A few with keen pitch acuity can even acquire Perfect Pitch ability in a short time.” This experiment among others should lay to rest the myth about Perfect Pitch possessors being born, not made...It is similar to learning a skill such as swimming, in that one must be exposed to it and work at it to one extent or another” ‘The greatest composers and musicians possess or have possessed Perfect Pitch ability or at the very leasta high degree of pitch acuity. This alone is enough fo attest to the value of Perfect Pitch training. Music is a hearing art; a musician can perform only as well as he oe she gan hear, As aural acuity is improved, so is musi- cianship. Perfect Pitch is a high degree of aural acuity” Some of [the] benefits lof Perfect Pitch are greater creativity, sensitivity, enjoyment, better ability to tune: listen keenly, compose, better knowledge of key, greater language adaptability” ‘As more musicians acquire the ability and an acceptance of Perfect Pitch as an acquirable ability hecemes more commonplace, it should become regard- edge a more natural ability that..always benefits fone’s] musicianship.” Burge deserves much credit for removing a great deal of the mystery from Perfect Pitch and for making it readily available to the average musician. He does this in terms any layman can understand. By setting aside the technical discussions..he has been able to get on with the practicalities..devising a course capable of benefitting many. Lessons..follow a logical and complete sequence and are simple to understand.” “The real proof is when you start to hear with Perfect Pitch yourself, says Burge. Of importance to this study is that through this method almost anyone, it seems, can acquire the ability of Perfect Pitch..His course seems to be an idea whose time has come." ‘The Burge course has proven itself through this study and that lat Ohio State University] to be an effec- tive means of improving pitch discrimination and even acquiring Perfect Pitch.” Because of the effectiveness of the Burge Perfect Pitch technique and the apparent value of Perfect Pitch ability, it seems a reevaluation of theory course content and of methods of teaching ear training in schools, uni- versities, and musical institutions is in order.* 79?y, Zoltan. “Who is a Good Musician” The Selected Writings of Zoltén Kodaly. Ed. Ferenc Bonis. Trans. Lili Halapy and Fred Macnicol. London Boosey and Hawkes, 1974. *Howes, Frank. Man, Mind and Music. New York: Books for Libraries Press, 1970. Scholes, Percy A. The Oxford Companion to Music, London: Oxford University Press, 1956, p. 2. ‘Davies, John Booth. The Psychology of Music, Stanford: Stanford University Press, 1978, p. 130. Bachem, A. “Absolute Pitch” Journal of the Acoustical Society of America, 27, No. 6 (November 1955), p. 1185. “Absolute Pitch” The New Grove Dictionary of Music and Musicians. London: Macmillan Publishers Limited, 1980. 7Hindemith, Paul. Elementary Training for Musicians. London: Schott and Co., Ltd., 1946, pp. 206, 207. "Scholes, p. 204. °Birren, Faber. Color Psychology and Color Therapy. New Hyde Park, New York University Books, Inc, 1961, p. 163. "Scholes, p. 202. "Sumner, William L. “A History of Musical Pitch” Hinrichsen's Musical Yearbook. London: Hinrichsen’s Edition Ltd., 1952, VII, pp. 237-238. "Ibid. Also Scholes, p. 814. "Werner, Eric. “The Music of Post- Biblical Judaism!” The New Oxford History of Music. London: Oxford University Press, 1966, pp. 322-325. ‘Einstein, Alfred. Greatness in Music. New York: Oxford University Press, 1941, p. 163 Study #1: Rush, M. A. An experimental investigation of the effectiveness of training on absolute pitch in adult musicians, The Ohio State University, 1989; p. 212; 6p. 147; 7p. 193; "881250, p. 147; ®p. 196; %p. 400; 2p, 397; ®p. 399; *p. 400; *p. 399. Note: This is a fine study, however Rush did not fully document how he adapted Burge’s recommended practice methods. When Burge request- ed that he more clearly notate these differences, Rush instead placed his research on the restricted list at OSU, thus it may be more difficult for inter- ested parties to peruse a copy without physically visiting the University. Study #2: Nering, Marguerite Elaine. A study to determine the effectiveness of the David Lucas Burge technique for development of Perfect Pitch, The University of Calgary, 1991: 2p, 161; ’p. 342; *p. 355; pp. 355-6; p, 356; *p. 357; *p. 357; *p, 135; Mpp. 135-6; 9p. 133; %p. 357, To obtain a copy of the Nering study, please contact info@EarTraining.com or the University of Calgary.i OTN omen hidden inside that you have yet to Cie ane Nee uate that is the key to many others. “Music is a hearing art; EMeclacs SCR UR om