Relative pitch

Relative pitch is the ability of a person to identify or re-create a given musical note by comparing it to a reference note and identifying the interval between those two notes. Relative pitch implies some or all of the following abilities:

Determine the distance of a musical note from a set point of reference, e.g. "three octaves above middle C"
Identify the intervals between given tones, regardless of their relation to concert pitch (A = 440 Hz)
the skill used by singers to correctly sing a melody, following musical notation, by pitching each note in the melody according to its distance from the previous note. Alternatively, the same skill which allows someone to hear a melody for the first time and name the notes relative to some known reference pitch.

This last definition, which applies not only to singers but also to players of instruments 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 successfully with others. As an example, think of the different concert pitches used by orchestras playing music from different styles (a baroque orchestra using period instruments might decide to use a higher-tuned pitch).

Unlike absolute pitch (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. Unlike perfect pitch, relative pitch can be developed through ear training.^[1] Computer-aided ear training is becoming a popular tool for musicians and music students, and various software is available for improving relative pitch.

Some music teachers teach their students relative pitch by having them associate each possible interval with the first two notes of a popular song. (See ear training.) Another method of developing relative pitch is playing melodies by ear on a musical instrument, especially one which, unlike a piano or other fingered instrument, requires a specific manual adjustment for each particular tone. Indian musicians learn relative pitch by singing intervals over a drone, which is also described by W. A. Mathieu using western just intonation terminology. Many western ear training classes use solfège to teach students relative pitch, while others use numerical sight-singing.

Compound intervals (intervals greater than an octave) can be more difficult to detect than simple intervals (intervals less than an octave).

Interval recognition is used to identify chords, and can be applied to accurately tune an instrument with respect to a given reference tone, even if the tone is not in concert pitch.

References

↑ Humphries, Lee. Learning to Sight-Sing: The Mental Mechanics of Aural Imagery. Minneapolis: Thinking Applied, 2008, No. 1.

Music psychology

Areas	Biomusicology Cognitive musicology Cognitive neuroscience of music Culture in music cognition Evolutionary musicology Psychoacoustics

Topics	Absolute pitch Auditory illusion Auditory imagery Background music Consonance and dissonance Deutsch's scale illusion Earworm Embodied music cognition Entrainment Exercise and music Eye movement in music reading Franssen effect Generative theory of tonal music Glissando illusion Hedonic music consumption model Illusory continuity of tones Levitin effect Lipps–Meyer law Melodic expectation Melodic fission Mozart effect Music and emotion Music and movement Music in psychological operations Music preference Music-related memory Musical gesture Musical semantics Musical syntax Octave illusion Relative pitch Shepard tone Temporal dynamics of music and language Tonal memory Tritone paradox

Disorders	Amusia Auditory arrhythmia Beat deafness Musical hallucinations Musician's dystonia Music-specific disorders Tone deafness

Related fields	Aesthetics of music Bioacoustics Ethnomusicology Hearing Melodic intonation therapy Music education Music therapy Musical acoustics Musicology Neurologic music therapy Neuronal encoding of sound Performance science Philosophy of music Psychoanalysis and music Sociomusicology Systematic musicology Zoomusicology

Researchers	Jamshed Bharucha Robert Cutietta Jane W. Davidson Irène Deliège Diana Deutsch Henkjan Honing Nina Kraus Carol L. Krumhansl Fred Lerdahl Daniel Levitin Leonard B. Meyer Max Friedrich Meyer James Mursell Richard Parncutt Oliver Sacks Carl Seashore Roger Shepard John Sloboda Carl Stumpf William Forde Thompson

Books and journals	Musicophilia Music, Thought, and Feeling Psychology of Music (journal) Psychomusicology: Music, Mind and Brain (journal) The World in Six Songs This Is Your Brain on Music

Frequency and pitch

Notation	Concert pitch Enharmonic Helmholtz pitch notation Letter notation Piano key frequencies Pitch class Scientific pitch notation

Perception	Absolute pitch Ear training Pitch circularity Relative pitch Tonal memory Tone deafness Virtual pitch

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Relative pitch

See also

References