Hearing chroma vs memory | melody trigger

Comments and questions about AP Avenue.
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Hearing chroma vs memory | melody trigger

Postby bigbadmonster » Thu Aug 11, 2011 9:38 am

Hi. I've been playing APA for a few days now(about 15 min a day) and have gotten to level 54 where I'm really starting to have trouble.
I don't quite get why that is, as differing octaves of the same note should still have the same 'chroma', right? So, why would introducing more octaves make it more difficult? Could it be that I've not been listening to the chroma and have instead been going by what my memory of middle C sounds like. I certainly don't want to rely on memory tricks since it seems to not have helped anyone(adult) gain 'true' AP.

Now, instead of 'digging' through the stack of notes to find the correct note I seem to have to rely on a feeling rather than a clear pick. Should I try developing this 'feeling' more? It seems that's the only option other than going to my instrument and committing the c's of all the octaves to some kind of memory--which seems to be NOT the point.

Is it necessary to have the c melody trigger? Why not just have C alone or even stacked in octaves? It would make it harder to rely on 'cheap' tricks for gaining 'AP' if you don't have that melody drilled into your head.

Also, is there an ability to have more than 1 note up for i.d?

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Postby Archbold » Thu Oct 13, 2011 6:57 pm

I found this interesting too, I think that the middle C is a note all by itself and that the C an octave below is actually another note by itself. So the problem is your ear is trained to hear the middle C but not the lower C and it causes confusion that way.

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Postby aruffo » Sat Oct 15, 2011 12:43 am

Introducing more octaves makes it difficult because each version of the "same pitch" comprises different components.

The overtone series-- the set of harmonic vibrations produced by a "fundamental" pitch frequency-- is different for any given pitch, by virtue of the fact that each of its frequencies are each a multiple of that specific pitch. This is the case even for pitches that stand in octave relation to each other-- the fundamental pitch may be of the same class, but the overtone series is different, giving the entire tone a different character... and, consequently, masking the chroma.

By continuing to listen for the same pitch class in different octaves with APA, your mind will gradually, automatically, figure out which part of the tones is the same (the chroma) and which parts are different (the overtones).

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Postby Magick » Wed Feb 01, 2012 4:33 pm

I don't see the harm in using melody triggers to start off, it's sort of like using 'melody triggers' for intervals, after awhile, you just recognize the intervals for what they are, and if you're not sure, you can hum your melody to make sure, but mostly it's automatic after you do it for long enough :) So I don't see the harm.

To be fair, I use the solfege system a lot more frequently than intervals when listening to actual music. I wonder if there is a difference between solfege and intervals similar to learning pitches by recognizing the characteristics of the pitch and learning it based on melody triggers?

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