The power of Repetitiveness

Talk about what you've discovered by using ETC-- and post your high ranks!
TS
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Postby TS » Thu Apr 22, 2010 9:03 am


gavriel
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Postby gavriel » Thu Apr 22, 2010 8:44 pm


Axeman
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creating pitches

Postby Axeman » Fri Apr 30, 2010 4:07 pm

You may want to try out Bryce Alexanders program. I don't know if it will do the things you want to do with the pitches but you could try ask him I suppose.

I haven't tried his program but you can see how it works on the site. It enables you to adjust the overtones that a recorded note contains.

koenig
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Re: creating pitches

Postby koenig » Sat May 01, 2010 10:57 am

Thanks for that link Axeman! I'm not sure that his method has anything to teach about perfect pitch (not saying it doesn't, I'm just a skeptic) but I'm starting to hear harmonics that I've never realized were there in my entire damn life. Unbelievable...

I deleted the rest of the post, because I think it is too early to get excited.

BigRed
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Postby BigRed » Mon May 17, 2010 10:24 pm

Hello!

I agree. In fact, this reminds me of something that I recently experienced --- something profound, simply by playing around on my keyboard...

I discovered what piano tuners call "beats"!

It was never noticeable to me before; these mystery sounds had always eluded me, until I made a CONCIOUS effort at hearing them. That's when something remarkable happened. Suddenly it was as if a veil had been lifted from my ear, and now I hear them all the time. Now I can consciously control whether or not I hear the beats. I can either focus in on them, or ignore them.

At first it was difficult, and they would sometimes "disappear" on me, which was discouraging and frustrating. But then I tried playing in the bass range (a minor 2nd interval, which is the most obvious extreme dissonance). The wooow-wooow-wooow-wooow was so explicit as to be impossible to ignore. It was like I was playing my piano through a tremolo FX pedal or something. Ever since then, it has been increasingly easy to notice them.

So I therefore believe that the concept of "making something obvious, so you can notice it when it's not" has a lot of merit. I would say this is especially true of auditory stimulti, which we have a tendency to filter out from our conscious perception (like tinnitus!)

The only initial reservation I have, is whether or not whatever skill/proficiency at AP one derives from training with Bryce Alexander's software will be usable within a MUSICAL context, especially thick chords. Afterall, you won't always be hearing sinewaves or piano tones. Music can contain ANY of thousands of possible types of instruments (especially orchestral works), or ANY combination thereof. Are you really going to practice listening to the overtones of EVERY ONE of those, just to "cover all your bases"? That would take more than a lifetime.

Just my 2 cents.
Last edited by BigRed on Tue May 18, 2010 6:14 am, edited 2 times in total.

koenig
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Postby koenig » Mon May 17, 2010 10:51 pm

Well...no :)

I'm not convinced that listening for overtones is going to teach me anything in particular, but it sure is fascinating. I wouldn't spend too much time on it, but I do plan on exploring it a bit.

BigRed
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Postby BigRed » Tue May 25, 2010 8:48 pm

So, koenig, just to follow up, because I'm curious: Have you been using Bryce Alex's software (APS) regularly since your last post? I know it's too early to get excited, but you mentioned hearing harmonics you haven't heard before in your life. Has this had any impact on your eartraining or pitch skills?

Also, I should probably correct my previous post. I wasn't meaning to imply that timbre is "just a crutch" or anything along those lines, although my statements may have come across that way. In fact, I tend to think of timbre as a valuable method of recall, and recently had an idea.

Part of distinguishing different tones absolutely is in the timbre. Studies comparing the accuracy of AP with regards to piano vs. sinewaves have shown this to be the case (at least for those learning later in life. Not sure about those who are "born APers" or learn young.) Practicing this involves listening to the subtle timbral differences between all the tones producable by a given instrument, using the most standard timbre-defining playing techniques. Which of course, already adds up to many combinations.

Perhaps to compensate for this, you could cover "all your bases" so to speak (at least somewhat), not by listening to every instrument, but by listeing to 1 of the most common members of every major classification of instruments. Either the 4 families of Woodwinds, Brass, Strings, Percussion, or 4 methods of sound production (Idiophone, Membranophone, Chordophone, Aerophone), or something else along those lines.

This could prevent things from becoming overwhelming. :shock:

lorelei
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Height vs. Chroma in AP

Postby lorelei » Sun Jun 06, 2010 11:10 am

Last edited by lorelei on Mon Jun 07, 2010 3:38 am, edited 2 times in total.

BigRed
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Re: Height vs. Chroma in AP

Postby BigRed » Sun Jun 06, 2010 6:28 pm


lorelei
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Postby lorelei » Mon Jun 07, 2010 1:20 pm


BigRed
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Postby BigRed » Mon Jun 07, 2010 4:27 pm


SacumSuckum
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The First Post - the Meditation Method

Postby SacumSuckum » Fri Apr 01, 2011 12:07 pm

This is for gavriel, if he happens to still be coasting this forum. I understand that the method you outlined in the first post doesn't give AP or perfected relative pitch, but does it work generally? Does it actually improve listening skills?

This question may sound redundant, but since the post was written so long ago and so much else had been written in the intervening time period, I figured that something valuable might have been said about the value of the method generally.

If the method is practical and useful, how exactly do you recommend listening to the particular piece? Is it useful to play the piece in the background, letting your unconscious mind absorb the frequencies and relationships between the notes? Or is that anathema, does it violate the essential point of the method, which is meditation? Also, in meditating on this piece, are we ideally listening for things, for frequencies, relationships, pitches or are we just trying to enjoy the piece?

Hopefully you get this gavriel.

SacumSuckum
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Postby SacumSuckum » Tue Apr 05, 2011 4:03 pm

And I'd be happy for a reply from Chris too, if he's still looks at the forum for new posts every so often. And even though you might not know what Gavriel thought on the matter aruffo (or what others said on the matter, etc.), I'd be happy to know what you think about it.

aruffo
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Postby aruffo » Tue Apr 05, 2011 6:35 pm

He does... I don't have too much to say about it, though.. I (still) maintain that the next step is figuring out how to learn categorical perception along the frequency dimension, but I don't yet know how to approach that.

SacumSuckum
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Postby SacumSuckum » Wed Apr 06, 2011 9:18 am

I'm sure you're sick of explaining this, but when you say categorical perception along the frequency dimension, do you mean, moving beyond mere recognition of a particular note (that sounds familiar...) to recognition that that note is A, B, G, etc.

Or do you mean recognition of the difference between A, B, G, D, etc?

And by the way, when was the last time Gavriel posted on any of the forums anyway?


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