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SuperCourse
Version 2.0 Special Edition
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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 ...15In 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 qualityof 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 1Perfect
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 itThe 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-
29ence 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,
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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.
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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.