I do have perfect pitch but from my experience, sometimes it’s not at all that great to have it. I feel like though it’s not something that can be developed very easily. Perfect Pitch can be pretty useful especially if you need to do any melodic dictation for music theory/musicianship. While they aren't necessarily designed for perfect pitch kids, they are great at teaching intonation in both horizonal (melodic) and vertical (harmonic) situations. There are some books that some students might find helpful, like Cellomind or Violinmind. They have learned the written theory along with it as well. Then arpeggios, especially the diminished and dominant), as well as starting to work on it harmonically. (This is less important for pianists for obvious reasons.) To do this, we started with scales and worked on it melodically. In other words, they need to be taught relative pitch, and they need to be taught the theory behind it. Now, they understand there are a range of F#s depending on context. At age 10, an F# was an actual single entity for my kids.
If they do, you can encourage them to keep practicing it, because like any "muscle," it can be strengthened or weakened with use.īut what you DO need to do as they become tweens and teens is teach them about theory and relative pitch. In my experience, you don't need to do anything beyond exposing young kids to pitch and labeling it for them to develop perfect pitch. She can identify pitches by ear, but often needs to sing them out loud first. Others, like my daughter, are less extreme. Some of these kids (like my son) have extreme perfect pitch - he can hear the pitch of everything in the environment around him, to the point where it took him several childhood years to learn to "cope" with all the pitches in his environment. A lot of Asian languages fall into this category. It's also more common in children who learn tonal (verbal) languages where pitch inflection is especially important. This isn't an anomaly - it is true of many, if not most, kids who started music lessons early, practiced a lot daily, and are studying at higher levels. Interestingly, in my son't precollege program, something like 75-80% of the kids have perfect pitch. In my experience, perfect pitch is ONLY developed in children who have both something of a natural proclivity and are repeatedly exposed to appropriate labeling of pitches sometime early in their lifetimes (usually before age 8 or 10, maybe even earlier). What is important is I practice so I can play pieces in tune at 440, 443, 445, etc., relative to the passage being performed. In short, yes I can sing 440, but mostly anyone (or at least, most of us violinists) can do that. Playing scales in perfect tune-save for the double stop exceptions where relative is ok-is a much better skill than "perfect pitch" will ever be. That is why someone who supposedly has "perfect pitch" and plays out of tune in the 1st section of an orchestra, either does not really have a good ear at all, or does not practice his/her violin.
When I was young I was told I had perfect pitch, but honestly it's just "relative"-not as in being out of tune being relative, but relative to the scale.
One *could* have perfect pitch related to piano, but that is useless to a violinist. IMHO, this skill is not "real" in the sense that perfect pitch is relative to the instrument and scales within a piece. That said, happy your students have such skills. The important thing is we all play in tune-which someone with perfect pitch may very possibly not do. Adalberto Valle-Rivera Edited: June 26, 2023, 4:10 PM
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