Does anyone know if Kurt has perfect pitch, or perhaps just really good relative pitch?
Perfect Pitch(6 posts)
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Well, the fact that he can sing along to his playing/play along to his singing so well makes me think that he at least has excellent relative pitch.
I think all jazz musicians have very very developed ears. Perfect pitch is something you're born with, i think, and just means you can hear a note exactly to the pitch in your head.
I was at a workshop that Steve Coleman gave where he said you can achieve close to perfect pitch if you're not born with it.All you need is a tuning fork. You strike the tuning fork first thing when you get up in the morning and then before you go to bed, then after a week you try and sing the pitch before hitting the tuning fork. He said to spend 2 months on each note using this method so it takes roughly 2 years to go through all the notes. Also another interesting thing i heard when I was at a jazz conference with Reggie Workman was that he is able to know what 440Hz feels like even if he is tuning his bass with a drummer thrashing away beside him. He said he used to strike the tuning fork and then put it in his mouth and then eventually he knew what the vibration of 440 felt like in relation to his body.
KR has an extremely deep relative pitch at minimum... he sings his lines. Listen his solo on All The Way To Rajasthan from 5:00-5:37. He's going WAY out and still singing those lines. I'd much rather have his level of relative pitch than have been born with perfect pitch.
(I'm not saying he doesn't have perfect pitch, maybe he does, but I personally value a deep internalization of sound in comparison to other sound more than perfect pitch by itself).
There are methods you can buy online that can help you achieve perfect pitch. I thought about splitting it with a friend about 6 years ago but I'd been doing so much work with relative ear training and atonal interval ear training I didn't really see the point.
Great to hear about the coleman reck. It makes sense. This is what happens with decent relative pitch and decent memory. If I've been playing a good amount and working on things where I am very aware of the key ( like working on a certain piece or transcribing then it's in my head).
If some car drives by playing something loud ( Doppler effect aside ) Like some smooth jazz for instance ; hearing the chord quality and even voicings and melody lines relation to harmony. If lines are too fast to hear the specifics then I follow the contour ( eg: skipping thirds uphill etc.). I feel like THAT kind of listening is very useful because when things move in real time identifying a pattern or at least intervals and a series of them ( for as long as your attention span can follow ) or to catch how something is voiced briefly is what can lead to insight and comprehension. It feels more important than perfect pitch. It's as if the best part of perfect pitch is it's co-opting of relative pitch : hearing ideas and their context feels mire practical than being able to say it's Bb and not B. If you hear a blues and the soloist plays min7b5 chord or idea off of the 3rd of dom7 , then we hear the 9th chord vibe ( and it's rootless , and this feels a certain way). With only perfect pitch and no context it might be tough to make these types of connections and again if I have been playing ( in tune , of course ) relatively recent to when I hear these sounds or musics around me then I focus to remember what playing ' all the things you are '( to hear Fmin7 vibe or an Ab) or other things or recordings that are dear to me as a source fir an objective pitch referrence to compare so that I can place it/ myself .
THANK YOU! I will milk my tuning fork fir all it's worth.
My friend took a lesson with Ben street and he told him to transcribe with a tuning fork and pencil and paper! Away from instrument. This is very cool for memory, pitch everything! It is just brutal because there is no escape into the land of ripping a tried and true lick.
It's good stuff; fuck sudoku and crosswords .
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