Talk about what you've discovered by using ETC-- and post your high ranks!
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Postby jpritch » Wed Feb 04, 2009 6:04 am

If timbre is part of what obscures our perception of chroma, is it as valuable to compare the same pitch with many timbres as it is to compare different pitches with the same? Listening to the same pitch on different instruments, chroma would be the common aspect rather than the difference.

Having recently had great results with Pitch Paths I was surprised at how lost I was when testing with different instruments. I know from being familiar with Burge's material for nigh on 20 years that this would happen but it was quite shocking to experience it.

These points are nothing new of course, but it just struck me that comparing timbres with a common pitch is perhaps as fundamentally important as comparing different pitches. Yet it seems to be an afterthought in most methods.

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Postby Stefan » Sun Feb 08, 2009 1:31 am

Timbre is part of the musical essence I would say, its part of what provokes emotion, I would say yes, it is important to become familiar with the pitch levels across as many timbres as possible, APA help greatly with getting past the 'illusion' of Timbre and focused more on the actual pitch...the only way to hear 'through' the timbres is to listen to different ones all the time, so using the random feature in the ETC would be wise...

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Postby lorelei » Mon Jun 07, 2010 11:09 am

Does timbre interfere with chroma perception for people without AP? Is this one of the reasons for people having AP for their own instrument and lost for others?

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Postby aruffo » Mon Jun 07, 2010 4:01 pm

I think so, yes. I wouldn't take it as far as the fellow who's recently been promoting his own ideas of AP being essentially based in timbre perception, but Absolute Pitch Blaster/Avenue came about from my realizing that without training or awareness to the contrary, the chroma dimension is integrated with other dimensions of "pitch" such as intensity, timbre, "height", etc.

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