22:
223:
Some music teachers teach their students relative pitch by having them associate each possible interval with the first two notes of a popular song. Another method of developing relative pitch is playing melodies by ear on a musical instrument, especially one that, unlike a piano or other keyboard or
182:
This last criterion, which applies not only to singers but also to instrumentalists who rely on their own skill to determine the precise pitch of the notes played (wind instruments, fretless string instruments like violin or viola, etc.), is an essential skill for musicians in order to play
213:(sometimes called "perfect pitch"), relative pitch is quite common among musicians, especially musicians who are used to playing "by ear", and a precise relative pitch is a constant characteristic among good musicians.
197:
Interval recognition is used to identify chords, and can be applied to accurately tune an instrument with respect to a given reference tone, even when the tone is not in
133:
are played on a piano, a person with relative pitch would be able to identify the second note from the first note given that they know that the first note is
220:. Computer-aided ear training is becoming a popular tool for musicians and music students, and various software is available for improving relative pitch.
194:
Compound intervals (intervals greater than an octave) can be more difficult to detect than simple intervals (intervals less than an octave).
393:
1014:
629:
86:
58:
65:
574:
360:
188:
105:
125:
by comparing it to a reference note and identifying the interval between those two notes. For example, if the notes
519:
529:
39:
72:
579:
386:
43:
1213:
966:
509:
793:
534:
283:
54:
1007:
980:
959:
945:
499:
484:
325:
175:
753:
723:
431:
1203:
1078:
479:
451:
379:
1198:
1058:
768:
682:
649:
494:
624:
436:
284:"Neural patterns reveal single-trial information on absolute pitch and relative pitch perception"
246:
32:
1208:
1000:
973:
916:
672:
1068:
1046:
778:
426:
224:
fretted instrument, requires a specific manual or blown adjustment for each particular tone.
79:
584:
421:
8:
871:
763:
758:
703:
662:
549:
544:
1145:
851:
821:
524:
504:
281:
171:, by pitching each note in the melody according to its distance from the previous note.
1104:
738:
614:
594:
564:
464:
356:
306:
302:
349:
Harmonic
Experience: Tonal harmony from its natural origins to its modern expression
149:
Determine the distance of a musical note from a set point of reference, e.g. "three
1218:
1160:
1140:
938:
881:
866:
816:
801:
474:
469:
402:
352:
298:
168:
187:
used by orchestras playing music from different styles (a baroque orchestra using
1063:
811:
773:
728:
713:
639:
604:
589:
554:
514:
441:
282:
Leipold, Simon; Greber, Marielle; Sele, Silvano; Jäncke, Lutz (15 October 2019).
236:
1155:
1094:
861:
836:
677:
599:
539:
459:
258:
210:
1192:
1124:
1119:
1041:
1027:
921:
901:
891:
876:
831:
826:
783:
748:
733:
687:
667:
559:
416:
344:
232:
228:
198:
184:
161:
160:
Identify the intervals between given tones, regardless of their relation to
1172:
1114:
1099:
952:
906:
886:
856:
708:
634:
619:
310:
263:
217:
122:
1177:
1073:
911:
841:
1167:
1150:
1053:
896:
846:
806:
743:
992:
241:
1023:
174:
Hear a melody for the first time, then name the notes relative to a
21:
371:
154:
227:
Indian musicians learn relative pitch by singing intervals over a
718:
489:
657:
150:
145:
Relative pitch implies some or all of the following abilities:
216:
Unlike perfect pitch, relative pitch can be developed through
569:
327:
Learning to Sight-Sing: The mental mechanics of aural imagery
121:
is the ability of a person to identify or re-create a given
183:
successfully with others. An example, is the different
239:
terminology. Many
Western ear training classes used
245:to teach students relative pitch, while others use
46:. Unsourced material may be challenged and removed.
333:. Vol. 1. Minneapolis, MN: Thinking Applied.
1190:
323:
1008:
387:
343:
191:might decide to use a higher-tuned pitch).
1015:
1001:
394:
380:
204:
106:Learn how and when to remove this message
235:(1997) described in terms of occidental
1022:
630:Temporal dynamics of music and language
1191:
140:
996:
375:
167:Correctly sing a melody by following
401:
44:adding citations to reliable sources
15:
13:
14:
1230:
575:Music in psychological operations
520:Generative theory of tonal music
303:10.1016/j.neuroimage.2019.06.030
20:
530:Hedonic music consumption model
427:Cognitive neuroscience of music
31:needs additional citations for
337:
317:
275:
1:
967:Psychology of Music (journal)
510:Eye movement in music reading
269:
535:Illusory continuity of tones
7:
981:This Is Your Brain on Music
960:Music, Thought, and Feeling
946:Musicae Scientiae (journal)
252:
10:
1235:
754:Neuronal encoding of sound
724:Melodic intonation therapy
432:Culture in music cognition
1133:
1087:
1079:Scientific pitch notation
1034:
930:
792:
696:
648:
480:Consonance and dissonance
450:
409:
1059:Helmholtz pitch notation
769:Psychoanalysis and music
749:Neurologic music therapy
683:Music-specific disorders
495:Embodied music cognition
485:Deutsch's scale illusion
625:Speech-to-song illusion
437:Evolutionary musicology
324:Humphries, Lee (2008).
247:numerical sight-singing
205:Prevalence and training
974:The World in Six Songs
917:William Forde Thompson
673:Musical hallucinations
1069:Piano key frequencies
779:Systematic musicology
1214:Cognitive musicology
585:Music-related memory
422:Cognitive musicology
40:improve this article
872:Max Friedrich Meyer
764:Philosophy of music
759:Performance science
704:Aesthetics of music
678:Musician's dystonia
663:Auditory arrhythmia
550:Melodic expectation
141:Detailed definition
931:Books and journals
852:Carol L. Krumhansl
570:Music and movement
525:Glissando illusion
505:Exercise and music
189:period instruments
1186:
1185:
1105:Pitch circularity
990:
989:
739:Musical acoustics
615:Sharawadji effect
595:Musical semantics
565:Music and emotion
465:Auditory illusion
164:(A = 440 Hz)
137:without looking.
116:
115:
108:
90:
1226:
1204:Music psychology
1141:Electronic tuner
1017:
1010:
1003:
994:
993:
939:Music Perception
882:Richard Parncutt
867:Leonard B. Meyer
817:Jane W. Davidson
802:Jamshed Bharucha
580:Music preference
475:Background music
470:Auditory imagery
403:Music psychology
396:
389:
382:
373:
372:
367:
366:
353:Inner Traditions
341:
335:
334:
332:
321:
315:
314:
288:
279:
169:musical notation
111:
104:
100:
97:
91:
89:
55:"Relative pitch"
48:
24:
16:
1234:
1233:
1229:
1228:
1227:
1225:
1224:
1223:
1199:Music cognition
1189:
1188:
1187:
1182:
1146:Mersenne's laws
1129:
1083:
1064:Letter notation
1030:
1021:
991:
986:
926:
812:Robert Cutietta
788:
774:Sociomusicology
729:Music education
714:Ethnomusicology
692:
644:
640:Tritone paradox
605:Octave illusion
590:Musical gesture
555:Melodic fission
545:Lipps–Meyer law
515:Franssen effect
446:
442:Psychoacoustics
405:
400:
370:
363:
342:
338:
330:
322:
318:
286:
280:
276:
272:
255:
237:just intonation
207:
185:concert pitches
176:reference pitch
143:
112:
101:
95:
92:
49:
47:
37:
25:
12:
11:
5:
1232:
1222:
1221:
1216:
1211:
1206:
1201:
1184:
1183:
1181:
1180:
1175:
1170:
1165:
1164:
1163:
1156:Musical tuning
1153:
1148:
1143:
1137:
1135:
1131:
1130:
1128:
1127:
1122:
1117:
1112:
1110:Relative pitch
1107:
1102:
1097:
1095:Absolute pitch
1091:
1089:
1085:
1084:
1082:
1081:
1076:
1071:
1066:
1061:
1056:
1051:
1050:
1049:
1038:
1036:
1032:
1031:
1020:
1019:
1012:
1005:
997:
988:
987:
985:
984:
977:
970:
963:
956:
949:
942:
934:
932:
928:
927:
925:
924:
919:
914:
909:
904:
899:
894:
889:
884:
879:
874:
869:
864:
862:Daniel Levitin
859:
854:
849:
844:
839:
837:Henkjan Honing
834:
829:
824:
819:
814:
809:
804:
798:
796:
790:
789:
787:
786:
781:
776:
771:
766:
761:
756:
751:
746:
741:
736:
731:
726:
721:
716:
711:
706:
700:
698:
697:Related fields
694:
693:
691:
690:
685:
680:
675:
670:
665:
660:
654:
652:
646:
645:
643:
642:
637:
632:
627:
622:
617:
612:
610:Relative pitch
607:
602:
600:Musical syntax
597:
592:
587:
582:
577:
572:
567:
562:
557:
552:
547:
542:
540:Levitin effect
537:
532:
527:
522:
517:
512:
507:
502:
497:
492:
487:
482:
477:
472:
467:
462:
460:Absolute pitch
456:
454:
448:
447:
445:
444:
439:
434:
429:
424:
419:
413:
411:
407:
406:
399:
398:
391:
384:
376:
369:
368:
361:
336:
316:
273:
271:
268:
267:
266:
261:
259:Absolute pitch
254:
251:
211:absolute pitch
206:
203:
180:
179:
172:
165:
158:
142:
139:
119:Relative pitch
114:
113:
28:
26:
19:
9:
6:
4:
3:
2:
1231:
1220:
1217:
1215:
1212:
1210:
1209:Pitch (music)
1207:
1205:
1202:
1200:
1197:
1196:
1194:
1179:
1176:
1174:
1171:
1169:
1166:
1162:
1159:
1158:
1157:
1154:
1152:
1149:
1147:
1144:
1142:
1139:
1138:
1136:
1132:
1126:
1125:Virtual pitch
1123:
1121:
1120:Tone deafness
1118:
1116:
1113:
1111:
1108:
1106:
1103:
1101:
1098:
1096:
1093:
1092:
1090:
1086:
1080:
1077:
1075:
1072:
1070:
1067:
1065:
1062:
1060:
1057:
1055:
1052:
1048:
1045:
1044:
1043:
1042:Concert pitch
1040:
1039:
1037:
1033:
1029:
1025:
1018:
1013:
1011:
1006:
1004:
999:
998:
995:
983:
982:
978:
976:
975:
971:
969:
968:
964:
962:
961:
957:
955:
954:
950:
948:
947:
943:
941:
940:
936:
935:
933:
929:
923:
922:Sandra Trehub
920:
918:
915:
913:
910:
908:
905:
903:
902:Roger Shepard
900:
898:
895:
893:
892:Carl Seashore
890:
888:
885:
883:
880:
878:
877:James Mursell
875:
873:
870:
868:
865:
863:
860:
858:
855:
853:
850:
848:
845:
843:
840:
838:
835:
833:
832:Tuomas Eerola
830:
828:
827:Diana Deutsch
825:
823:
822:Irène Deliège
820:
818:
815:
813:
810:
808:
805:
803:
800:
799:
797:
795:
791:
785:
784:Zoomusicology
782:
780:
777:
775:
772:
770:
767:
765:
762:
760:
757:
755:
752:
750:
747:
745:
742:
740:
737:
735:
734:Music therapy
732:
730:
727:
725:
722:
720:
717:
715:
712:
710:
707:
705:
702:
701:
699:
695:
689:
688:Tone deafness
686:
684:
681:
679:
676:
674:
671:
669:
668:Beat deafness
666:
664:
661:
659:
656:
655:
653:
651:
647:
641:
638:
636:
633:
631:
628:
626:
623:
621:
618:
616:
613:
611:
608:
606:
603:
601:
598:
596:
593:
591:
588:
586:
583:
581:
578:
576:
573:
571:
568:
566:
563:
561:
560:Mozart effect
558:
556:
553:
551:
548:
546:
543:
541:
538:
536:
533:
531:
528:
526:
523:
521:
518:
516:
513:
511:
508:
506:
503:
501:
498:
496:
493:
491:
488:
486:
483:
481:
478:
476:
473:
471:
468:
466:
463:
461:
458:
457:
455:
453:
449:
443:
440:
438:
435:
433:
430:
428:
425:
423:
420:
418:
417:Biomusicology
415:
414:
412:
408:
404:
397:
392:
390:
385:
383:
378:
377:
374:
364:
362:0-89281-560-4
358:
354:
350:
346:
345:Mathieu, W.A.
340:
329:
328:
320:
312:
308:
304:
300:
296:
292:
285:
278:
274:
265:
262:
260:
257:
256:
250:
248:
244:
243:
238:
234:
230:
225:
221:
219:
214:
212:
202:
200:
199:concert pitch
195:
192:
190:
186:
177:
173:
170:
166:
163:
162:concert pitch
159:
156:
152:
148:
147:
146:
138:
136:
132:
128:
124:
120:
110:
107:
99:
88:
85:
81:
78:
74:
71:
67:
64:
60:
57: –
56:
52:
51:Find sources:
45:
41:
35:
34:
29:This article
27:
23:
18:
17:
1173:Savart wheel
1115:Tonal memory
1109:
1100:Ear training
979:
972:
965:
958:
953:Musicophilia
951:
944:
937:
907:John Sloboda
887:Oliver Sacks
857:Fred Lerdahl
709:Bioacoustics
635:Tonal memory
620:Shepard tone
609:
348:
339:
326:
319:
294:
290:
277:
264:Tonal memory
240:
226:
222:
218:ear training
215:
208:
196:
193:
181:
144:
134:
130:
126:
123:musical note
118:
117:
102:
93:
83:
76:
69:
62:
50:
38:Please help
33:verification
30:
1178:Tuning fork
1074:Pitch class
912:Carl Stumpf
842:David Huron
794:Researchers
500:Entrainment
297:: 132–141.
96:August 2018
1193:Categories
1168:Pitch pipe
1151:Microtuner
1088:Perception
1054:Enharmonic
897:Max Schoen
847:Nina Kraus
807:Lola Cuddy
744:Musicology
291:NeuroImage
270:References
66:newspapers
1024:Frequency
650:Disorders
1134:See also
1035:Notation
347:(1997).
311:31238164
253:See also
231:, which
155:middle C
1219:Singing
1161:Beating
719:Hearing
490:Earworm
242:solfège
233:Mathieu
209:Unlike
151:octaves
80:scholar
658:Amusia
452:Topics
359:
309:
153:above
82:
75:
68:
61:
53:
1028:pitch
410:Areas
331:(PDF)
287:(PDF)
229:drone
87:JSTOR
73:books
1047:A440
1026:and
357:ISBN
307:PMID
129:and
59:news
299:doi
295:200
42:by
1195::
355:.
351:.
305:.
293:.
289:.
249:.
201:.
135:Do
131:Fa
127:Do
1016:e
1009:t
1002:v
395:e
388:t
381:v
365:.
313:.
301::
178:.
157:"
109:)
103:(
98:)
94:(
84:·
77:·
70:·
63:·
36:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
