If you are interested in memorizing pitches, there is way to do this. Pick a note like C, or A. Learn what this note sounds like in all of the different keys, major and minor. Carry a tuning fork with you when you are away from your instrument and every time you think of it, see if you remember what the note sounds like. Use the tuning fork to check your memory against the tuning fork or maybe a recording on your iPod.
When you hear music, on the radio, musak, whatever, car horns, 60 cycle hum 60 cycle hum is a Bb learn how to identify that key or pitch relative to the pitch of your tuning fork. Make up little melodies that help you to relate the pitch on your tuning fork to all of the different major and minor keys.
Learn how to sing these melodies using 'fixed do' solfeggi. Listen to your tuning fork while listening to music and listen to how the Out Of Tune (Instrumental) of your tuning fork harmonizes with the music you are listening to i. As you feel confident, pick a different note and work on it using the same method.
I bought a set of tuning forks, 13 forks. C,C ,D I use only twelve syllables for solfeggi. I use the white key syllables; do dough re ray mi me fa fah so so la law ti tee do, and black key flat syllables; ra rah me may se say le lay te tay. There are enharmonic sharp syllables as well. I find that using them creates confusion. It is better to always use the same syllable for the same pitch.
In my opinion. Some people think that you should work on a different pitch every week. I have been concentrating on a single pitch for maybe, a few months at a time. I have made definite progress. I can usually produce a C with my voice at any given time. Even if there is music in the background that is in a totally different key. With practice I tend to recognize different keys immediately. Be patient.
You will make a lot of mistakes. But you can learn to do this. I got discouraged once and gave up. I was rummaging around in my bedroom and came across my C tuning fork. I immediately heard its pitch in my mind. It was like being slapped in the face. I checked, and was quite surprised that my memory of the pitch was spot on.
In perfect tune. Some people will say that this skill is not terribly valuable. It helped me to play in improvisational settings with other musicians. I can usually identify a key without having to play a note on my instrument. This a baby step toward developing what is commonly called 'perfect pitch', 'absolute pitch' or 'pitch memory'. Sometimes I forget what a C sounds like. Just as sometimes I forget lots of things, like a person's name for example.
That doesn't mean that I don't know the person's name, I have simply forgotten it momentarily. I have noticed that when I play my guitar, I very often know what I am going to play, a D chord, for example, will sound like before I play it. In the past, my ear was not able to do as well as it can now that I have been paying attention to, and trying to remember what pitches sound like.
The conventional wisdom used to be that there are some people that have 'perfect pitch', but most people don't. This is not really true. The human brain can learn to remember pitches. This is not an all or nothing issue. If Out Of Tune (Instrumental) could not remember a pitch, you could not sing a song. The question is, "how long can you remember a pitch?
After I started trying, I noticed that most of time, I could sing a C perfectly in tune, first thing in the morning when I woke up. Sign up to join this community. The best answers are voted up and rise to the top. Home Questions Tags Users Unanswered. Is playing an out-of-tune instrument damaging to the musical ear? Ask Question. Asked 9 years, 2 months ago.
Active 2 years, 7 months ago. Viewed 5k times. Opera singers damaging their voices by singing out of tune? Don't you mean to say they damage their reputation? Active Oldest Votes. For me, Out Of Tune (Instrumental), I have always understood playing in tune as a sort triangulation between: Relative pitch A Weaker sense of of absolute pitch Muscle Memory Being consistent with correct pitches helps with the absolute pitch aspect of this "triangulation".
Kyle Brandt Kyle Brandt 3, 1 1 gold badge 20 20 silver badges 18 18 bronze badges. Perfect practice makes perfect permanance. Shannon Duncan 1, 5 5 silver badges 16 16 bronze badges.
Anthony Anthony 2, 17 17 silver badges 31 31 bronze badges. It's a standard simply because it's easy to produce; older instruments were tuned to other tunings.
I always get annoyed when people play a music that I know well and add in their own twists by changing the intervals in some parts of the song and even with the original artist who played their song slightly differently in live and studio recording and I'm familiar with one but not the otherit just feels wrong, even when done deliberately. Do not blame yourself for the resultant discord. Smile and quietly put the instrument back in tune if possible. D Always tune your instrument before the service if you are to play a special song.
There is nothing more annoying than having the whole congregation wait while someone tunes his instrument before a song. It is not edifying and can completely distract the spirit of Out Of Tune (Instrumental) service. E Do not take for granted that because your instrument was in tune during the last service that it is now in tune.
Temperature changes, humidity, and other factors Out Of Tune (Instrumental) cause a slight change in the tension of the metals and it can go out of tune whether played or not. F Many services are hindered because the service begins and then someone discovers that the piano is out of tune with the other instruments.
Check the instruments often and report the need for tuning to the Directors. Play every instrument for edification of the whole church, not for the pleasure of the individual.
The musicians should be dedicated to the edification of the church. A A sensitive ear cannot long endure extremely loud sounds, especially when the sounds are electrically amplified. There is a nerve shattering effect caused by continuous loud playing. If you are playing an instrument with an amplifier, the sound chamber needs to be turned slightly toward you, so you can tell if you are too loud.
B Do not be offended if asked by the Orchestra or Music Director to turn your volume down. Sometimes the individual playing does not realize that his instrument is too loud or far above the other instruments. When you accompany anyone who is singing, play softly enough so others can understand the words of the song. A If someone is scheduled to sing, he or she may have their own preference of accompaniment.
If the singer does not ask you to play, please refrain from playing. Do not attempt to learn a song that you do not know while someone is singing. Only the principal instruments must do this.
B Most people have their own style and an instrument must try to fit their style. Only play as requested to do so, then do so softly and simply in a manner that does not call attention away from the singing.
C Do not play for the altar invitation unless you are playing a principle instrument. Confusion must be avoided during this time more than any other time in the service. Many times God moves in such a way that there is no need for an invitation song. To strike up a song at such a time or start playing music may actually interfere with the move of God. Be sensitive to the Holy Ghost.
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