Perfect Pitch For You

Perfect Pitch
For You
Alla Elana Cohen
Perfect Pitch For You
by Alla Elana Cohen
Len Rhodes Music

P.O. Box 7252
Colorado Springs, CO 80933-7252
Find us on the World Wide Web at http://www.lenrhodesmusic.com
Copyright © 2007, Len Rhodes Music

All rights reserved.
Printed in the United States of America
Document design by Rhonda Spradling

Note illustrations by Alla Elana Cohen
First engraving—April 2007

ISBN-13: 978-0-9794269-0-2
ISBN-10: 0-9794269-0-1
Table of Contents
What her students say . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .iii

"Music Fell from the Heavens" . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . vii
About the Author . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . viii
1. The Miraculous Bell-Ringer or 121 Sharps and 121 Flats . . . . . . . . . . . . . . . . 9
2. Perfect Perfect Pitch and Imperfect Perfect Pitch . . . . . . . . . . . . . . . . . . . 11
3. Levels of Levers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
4. Proponents of Ten Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
5. To Have or Not to Have—That is the Question—
or How to Gather the Pieces Together . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
6. Esthetics of Synesthetic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
7. Is There a Flaw in the Universal Law? . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
8. Is There an Explanation of the Sense of Pitch Location? . . . . . . . . . . . . . . . 34
9. What Color is the Relationship, or What is the Relationship of Pitch Colors?. . 37
10. Perfect Pitch and Relative Pitch—Allies or Enemies? . . . . . . . . . . . . . . . . . 41
11. Perfect Pitch—a Servant or a Master? . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
12. Memory Fusion—Problems and Solutions, or a Layer in Time Saves Nine . . . 48
13. All About Aural Recall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
14. Start Smart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
15. Grow a Row Stage I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
16. Grow a Row Stage 1 (Continuation) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
17. Grow a Row Stage 2, Filling in the Gaps . . . . . . . . . . . . . . . . . . . . . . . . . . 69
18. Grow a Row Stage 3, or Territorial Expansion. . . . . . . . . . . . . . . . . . . . . . 73
19. Grow a Row Stage 4, Putting on Layers . . . . . . . . . . . . . . . . . . . . . . . . . . 76
20. Vertical Units—A Stumbling Block or a Nasty Little Trick?. . . . . . . . . . . . . . 80
21. For People with Inborn Perfect Pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
22. Selective or Universal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
23. For Teachers of Children and for Parents, but to be read by everyone
who holds this book . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
24. Go to the Limitless, Perceive the Whole . . . . . . . . . . . . . . . . . . . . . . . . . 95
"On Keys" . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Appendix 1, Samples of Rhythmic Patterns . . . . . . . . . . . . . . . . . . . . . . . . . . 98
Appendix 2, Samples of Volleys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
Appendix 3, Dictations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124
Table of Contents i
This book is addressed to the widest circles of musicians—
professional and amateur—to music teachers, to students of music
schools and colleges, to performers, composers, to music-lovers of
all levels of proficiency and musical background, to parents who
would like to help their children develop perfect pitch, to all who are
interested in this fascinating subject—developing the sense of pitch
and pitch memory.
This book is the result of many years of my pedagogical work with

adults and children. It is based on my observations and analysis of
my practical experience, the essence of which is the conclusion:
perfect pitch is necessary and perfect pitch is possible to develop,
both in grown-ups and children.
The book consists of two parts—the first one discussing the

mechanism of pitch perception and touching various important
questions in connection with developing perfect pitch. The second
part describes in detail the process of developing perfect pitch,
starting "from scratch," in stages.
To my readers—please, be patient, and read the first part of the book

carefully, everything in this book is interconnected,
so it is impossible to understand the second part of it without
reading the first.
Alla Elana Cohen
ii
What her students say…
When I first started ear-training with Alla Cohen, I had no idea that I would soon be able to do
what I do now. In the beginning, I had difficulty identifying notes in the two octaves of the piano
—above and below middle C. I now have perfect pitch in all the octaves of the piano. I can not only
identify separate notes, but notes in the intervals and chords, and not only on the piano. I can now
tell what key the piece is in when listening to a recording. I now play cello with better intonation
and better tone, and it helps me in my composing.
Eleanor Bragg, 10 year old composer and cellist,
student of New England Conservatory, Prep. School
ASCAP Morton Gould Award winner
Pikes Peak Young Composers first place winner
MTNA National level winner (2nd place) 2006
MTNA National level winner (1st place) 2007
When I first started ear-training with Professor Cohen, it was hard for me to recognize all the
notes, especially the black keys on the piano, but as I learned more about each note, it became
easier for me to figure out all the notes.
Shanlyn Tse, 10 year old composer and pianist,
ASCAP Morton Gould Award Honorable mention
When Professor Cohen proposed the possibility of learning perfect pitch, we highly doubted that
we would ever find ourselves recognizing notes instantaneously. However, she introduced the
notes strategically. First, she began with the white keys, and eloquently explained what sounds
and motions these keys denoted. Upon the start of every lesson, she added yet another note to the
ones we were already familiar with. Before we knew it, we were able to easily distinguish pitches
in all octaves of the piano, separate as well as in the intervals and chords.
Danielle and Arielle Galler-Rabinowitz, 15 year old twin
sisters, composers and pianists,
students of New England Conservatory, Prep. School
ASCAP Morton Gould Award winners
Carnegie Hall debut 2005
Pikes Peak Young Composers winners
Professor Cohen's teaching technique of perfect pitch is brilliant. I now listen and view music in a
way that I never thought was possible. Through her dedicated instruction and teaching methods,
she has allowed me to grow as a musician and composer.
Dayton Kinney
16 year old composer and pianist
iii
Before the course, everything was in black and white, and when I started it, I could experience
hearing colors for the first time. It is not about hearing pitches only, but also about grasping the
deepest and richest meaning of music. It is a lot of fun to practice the exercises with a friend and
see how our ears mutually open up.
Frank Brody
Guitar performance major, Berklee College of Music
I was introduced to Professor Cohen's unique method in my first lesson with her and was
intrigued how each note could be discerned from the others by simply listening to what
"direction" the note went in, regardless of octave or instrument. This method helped me pro-
foundly with intonation, and continues to help me in all my musical endeavors.
Justin Burack, 16 year old violinist, composer,
student of New England Conservatory Prep. School
Professor Cohen's system opened my ears to a world of color and beauty. Her unique approach is
necessary for all people who want to make good music. Her discoveries in pitch recognition, and
her system of teaching them, should be known and used by ALL musicians. As a composer, (her)
help was indispensible to my career. A composer has only a set of good ears and a perceptive,
receptive soul behind them. That is what Professor Cohen gave me, and that is what I cannot live
without.
Joseph A. Bachour, composer
I had the chance to take a course with Professor Cohen at the New England Conservatory. She is
gifted with the ability to break down and communicate her perception of music to others. Hearing
about this book excited me since it is a wonderful opportunity for others to get insights into (her)
unique world of hearing music.
Johannes Berauer, composer,
graduate student of New England Conservatory
The Perfect Pitch course has transformed me into a completely different musician. My ability to
discern pitches, harmonies and intervals was dramatically enhanced. I am tremendously grateful
for the experience and guidance. Strongly recommended for any serious musician.
William Chan, composer and conductor
graduate of Berklee College of Music
I was extremely interested in the "Perfect Pitch "course and at the same time very hesitant—
wondering whether obtaining perfect pitch is in fact possible...Professor Cohen has truly opened a
new world to me... she has been a tremendous influence!
Michael C.
Names have been given to the Trees of the Forest. Thank You.
John D.
I am taking this perfect pitch class with Alla Cohen twenty-one years after graduating from the
New England Conservatory with a major in percussion performance…this class and her method
are amazing!
Jeff F., Boston Ballet Orchestra Member
iv
Having inborn perfect pitch, I attended Professor Cohen's class because I wanted to get
acquainted with her method, and to be able to apply it in my own pedagogical work. I was amazed
how (her) unique method worked with the students—professional and amateur musicians—who
attended the class, coming to it without any pitch recognition; all of them showed wonderful
results, doing something they were not able to do before. I am sure all musicians—teachers,
performers, composers—should get acquainted with this course; it will open for them a totally
new musical world.
Yoshiko Hiramatsu-Kline,
free-lance pianist, piano teacher,
and New England Conservatory graduate
The insight of approaching and studying perfect pitch coming from Professor Cohen's perfect
pitch course not only helped me in developing a sense of different physical characteristics of
pitches, but also in improved instant recognition of them.
Ho Man Tin, composer
student of Berklee College of Music
Through Professor Cohen's perfect pitch classes I discovered how meaningful every single note
can be.
Shirin H.
Professor Cohen's perfect pitch course is a labor of love. Besides being a gifted pianist and com-
poser, she is a dedicated and supportive teacher who believes that perfect pitch is AN INNATE
ABILITY IN EVERYONE, and that it can be developed with practice and training, which I have
experienced and witnessed in her class. Whether you are a skeptic or a believer, this book will
teach you about tones as color and motion, and you will never hear sound or music in the same
way again!
Paul LaRocca, DSM Productions
Arranger and Composer
Perfect Pitch can be learned (sometimes slowly), thanks for sharpening my ears, Alla!
Donald C.
Her approach of teaching pitch through tone color has immensely helped me. When I play the cello
now, I search for the pure color of each tone.
Michele M.
For me, Alla Cohen found a way for anyone to develop perfect pitch. She’s a MASTER!
Joao Marcos M.
Professor Cohen's approach to perfect pitch ear training opened my mind to combinations of
pitches I had not perceived before. Chords, which in the past left me unmoved, or I found to be
even abrasive, now become amazingly rich and beautiful blends of bright and mellow tones.
Eric Ranvig, composer
v
Professor Cohen is able to stimulate abilities that I didn't know existed. Her impressionistic
descriptions of the characteristic flavors of each pitch are profound; now when I sit down at a
keyboard to play along with a piece I haven't heard before, I start it on the right notes.
David S. Reiser
Professor Cohen's perfect pitch class has literally opened a new world to me. I am in a new
musical dimension as I learn how to distinguish pitches in all octaves. My ear is much more sen-
sitive to the nuances and colors of the notes.
Melinda R.
Professor Cohen's method is a comprehensive approach to ear training that extends far beyond
simply naming or singing pitches. This course has been a revelation for me in my approach to
listening and understanding music, not just practically but philosophically.
Michael Schachter, composer and pianist,
student of Harvard University
…this course…has totally opened new doors for me in terms of how I think about music.
Tanayi S.
Twenty five years after obtaining a Bachelor of Music in composition I attended Professor
Cohen's perfect pitch class at New England Conservatory, having spent a lifetime thinking that
the goal of spontaneous pitch recognition was not available to me. Under her guidance, subtleties
of timbre, attack, decay, phase shift, and even my emotional response to these sounds were
brought to the surface and allowed me to listen deeply and hear what I had never noticed before.
Most extraordinary was obtaining the ability to pick out all the pitches in the context of chords
and even clusters of closely spaced notes. Professor Cohen is an extraordinary composer, pianist,
teacher and author,who brings rare insights to the mysteries of the sonic world, communicating
its message in a language we can understand.
David Swerdlove, composer, saxophonist
Alla Cohen's course revealed an entirely new dimension of sound to me, a dimension of
brightness and hardness and movement within each individual pitch, similar to the complex qual-
ities of the human voice. Her teachings have touched all aspects of my musicianship, from listen-
ing, to playing, to composing. They fundamentally affect my awareness of sound and inform each
choice I make in composing.
Matthew A. Wright, Ph.D.
Harvard Medical School
vi
"Music Fell from the Heavens"
Joseph A. Bachour
to my teacher, Alla Elana Cohen
November 2001
Music fell from the heavens, my teacher told me.

Music before 1750 is about heaven. Our window to heaven.
Music through the Vienna classics is about humans trying to get to
heaven, and mostly making it.
Music in the Romantic age is about humans trying to find heaven
on earth, though not the right search.
Music in the 20th century is about humans discovering that heaven
is not to be found on earth,
and deciding that heaven does not even exist.
Humans are stuck with humans.
Music fell from the heavens, my teacher told me,
and thus: the heavens do exist, and music does exist,
and we exist, and music came from heights and must be high.
Music must now rebuild our vision of heaven.
A heavy heaven, or lofty heaven.
A heaven with weight from human faults,
though one is still able to soar with the highest inspiration of
human imagination.
Music fell, my teacher told me, but from the heavens.
vii
About the Author
Alla Elana Cohen is a composer, pianist and music theorist.

She is on the faculty at Berklee College of Music, and the New
England Conservatory, where she teaches composition, harmony,
counterpoint and ear-training by her own method.
She received her education in Moscow, Russia, graduating from the
Moscow State Tchaikovsky Conservatory
with the greatest honors of distinction.
As a composer, she works in all the genres of orchestral

and chamber music. Her compositions have been performed with
much success throughout the USA. Many composition students of
Professor Cohen have been winners of numerous
prestigious Young Composers' Competitions, at state,
national and international levels.
She has been recognized as a composer by ASCAP,

being a recipient of ASCAPLUS Awards, and has received
commissions from the Music Teachers National Association (USA).
As a teacher, she has been awarded for "inspiring,
educating and mentoring young musicians to become composers of
tomorrow" by ASCAP, as well as being the recipient of numerous
Certificates of Recognition and Awards as a teacher of MTNA
Young Composers' Competition National level winners.
viii
1 The Miraculous Bell-Ringer
or 121 Sharps and 121 Flats
T
here was a unique musician in whether in the future gadgets will be more
Moscow, Russia, in the third and perfect—to check his phenomenal ear—he
fourth decades of the 20th century. answered: In the future not gadgets, but peo-
He was a composer and a church bell- ple will be more perfect—in a hundred years
ringer, his name was Konstantin Saradjev- all people will have perfect pitch and many—
junior. Legends were circulating about his such as mine.
musical genius, especially of his super- Konstantin Saradjev-junior distin-
perfect ear for music. His life was tragi- guished clearly in the octave 1,701 tones—
cally short. But he succeeded to write a each pitch for him had a central tone and
book in which he presented music theory 121 flats and 121 sharps. He couldn't play
of his own, based on his unique sense of ordinary instruments—piano, violin—in a
pitch and on his art of bell-ringing. The tempered system. He played church-
manuscript, unfortunately, was lost in bells—the only instrument that, by his
Soviet Russia; only several pages—the words, provided him with the opportu-
preface—remained. nity to reproduce those unheard-of com-
He wrote: The perfect pitch I have I plex harmonies that were born by his
would call 'true ear'—the ability to hear with phenomenal ear and marvelous com-
every fiber of your being the tone that is issued poser's gift. His compositions for church-
forth by any object, not only by vibrating bells were—for those who had the happi-
objects—to hear the tone of each stone, crystal, ness to hear them—like divine revelations,
metal. Pythagoras had such an ear, and, by even if the tiniest gradations of pitches
words of his students, had the tone clue to all were lost on the imperfect ears of his lis-
the mysteries of nature. teners. The story of Konstantin Saradjev-
Each precious crystal has its individual junior gives us several important clues to
tonality and the color which corresponds to the essence of perfect pitch:
this tonality. Every inanimate object and each
living being on the Earth and in the cosmos 1. We perceive pitches not only with
issues forth its, or his or her own tone. our ears, we react on them with
'True ear' can determine the tone of every cell in our bodies.
each human being just looking at this person. 2. Perfect pitch is not only a form of
For 'true ear' there are no limits the same way auditory perception, it is a way of
as the cosmos has no limits. Elements of 'true life, a form of communication with
ear' we can meet in many people, but in our the outer world, a form of self-cog-
century they are not developed. nition, of self-awareness, a way to
Acoustic gadgets during Konstan- comprehend the world. To be able
tin Saradjev's time were not so perfect as to perceive and to keep in memory
to be equal to his super-perfect ear. When a pitch is to be able to perceive
this miraculous musician was asked holistically a musical tone, to keep
The Miraculous Bell-Ringer or 121 Sharps and 121 Flats 9

in memory a hologram of musical
tone—it is part of being able to per-
ceive the world holistically, to
imbibe impressions of the outer
world with every cell of our beings,
to live and to breath in harmony
with the Universe.
3. Perfect pitch is a multi-faceted,
multi-level phenomenon which has
no limits—it is possible to imagine
an ear even more phenomenal than
that of Konstantin Saradjev-jun-
ior—one day a person will be born
who will discern even a greater
amount of gradations in a musical
tone.
For those who read this book with

the goal to develop their own perfect pitch
let the story of the miraculous bell-ringer
be an inspiration and help in overcoming
an important psychological barrier—after
all, to learn to recognize and to keep in
memory twelve pitches in an octave is a
very easy task—in comparison with the
1,701 pitches in an octave I described!
The Miraculous Bell-Ringer or 121 Sharps and 121 Flats 10

2 Perfect Perfect Pitch
and Imperfect Perfect Pitch
T
he phenomenon of perfect pitch is only a biologically determined phenome-
still almost untouched by scientific non, the same as it is impossible to explain
research.* But, first and foremost, from a purely biological point of view the
let us decide what ability deserves the def- gift of creativity. Why is the creative gift
inition "perfect pitch." Should we give the sometimes latent for half a lifetime, and
name "perfect pitch" only to the ability to why, sometimes, after displaying itself in
identify pitches from any instrument, childhood, does it disappear completely
voice, from the orchestra, chorus, and not later in life? Why does the same convolu-
only horizontally, that is, separate pitches, tion of human brain that is responsible for
but also pitches in various unbroken verti- the creative gift, sometimes gives us
cal combinations? Mozart, and sometimes, a mediocre com-
But then, how to name the ability to poser?
recognize pitches only from one instru- The same is with perfect pitch. Why
ment, usually the instrument a person is it so, that perfect pitch consists of many
plays—be it piano or bassoon? And some- levels and exists in many forms? If it is a
times not from any piano, but only from product of a certain circuit of the human
his or her own piano? How do you explain brain, why does the same circuit produce
what in Russia is called "dirty" perfect sometimes perfect perfect pitch and some-
pitch—when a person identifies the times—imperfect perfect pitch, "dirty"
pitches mostly correctly, but sometimes perfect pitch? And, by analogy with the
slides a half-step down or up? Is it perfect creative gift, why is perfect pitch some-
pitch or not? Or is it something intermedi- times latent for years—in people who
ate between having perfect pitch and not develop their perfect pitch spontaneously,
having it? that is, without any external help, any sys-
So, we deal with a many-faceted, tem of exercises, but only as a result of
multi-level phenomenon, that poses their general involvement in music, after
before us many unanswered questions. years of playing the instrument, compos-
Maybe, one day research on the biological ing, singing?
structure of the human brain will give us I personally know a number of peo-
all necessary answers. But today it is ple who developed perfect pitch sponta-
impossible to interpret perfect pitch as neously—some in childhood, some at
*Dr. Gottfried Schlaug from Beth Israel Hospital, Boston, MA, conducted research on a group
of people with perfect pitch and on another group without perfect pitch. The results of this
research are still not completely verified, but it seems that it is the left hemisphere of the
human brain that is responsible for causing perfect pitch. Dr. Schlaug thinks that people with
perfect pitch have a small area in the left hemisphere of the brain that is enlarged in compari-
son to the brain of those without it. Of course, this research is incomplete, being done on a
small group of people. It is interesting, however, to research the brain of people who develop
perfect pitch—whether this particular area in the brain Dr. Schlaug mentions changes in a cer-
tain way as a result of pitch ear-training.
Perfect Perfect Pitch and Imperfect Perfect Pitch 11

college level. And why is the gift of inborn hand, those students with inborn perfect
perfect pitch sometimes lost? I know pitch are also neglected within the existing
about such people who lost it in older age, system of ear-training—their marvelous
despite having it in their younger years ability being ignored, their ear never
(among them the great Russian pianist receiving truly challenging tasks.
Sviatoslav Richter, and the great Russian So I created my own system of
composer Sergei Prokofiev). pitch ear-training, the goal of which is to
All these unanswered questions develop pitch ear in those who need to
long ago led enthusiastic musicians in var- develop it "from scratch," so to say, and to
ious countries to the idea that perfect pitch give very advanced ear training in all
should be considered not only an inborn aspects of it to those who possess inborn
gift, the idea, which, in turn, led enthusi- perfect pitch of any kind or level and to
asts to experiments and ultimately, to suc- those who developed pitch ear with my
cessful results in developing perfect pitch system of exercises.
with the help of special exercises. What is my concept of perfect
Among those enthusiasts let us pitch? I am firmly convinced, and my
name Paul Hindemith, the great German teaching experience confirms it, that per-
composer, who thought that every musi- fect pitch is a skill, a technique, it is the
cian obligatory should develop perfect personal adjustment of the human ear to
pitch, if he or she is unable to do so, better the row of musical pitches in a way pia-
to change the profession. Also we can nism is the personal adjustment of human
name the Russian teacher Theodor Müller, hands to the keyboard of a piano. As with
who developed his own perfect pitch at any skill, any technique, perfect pitch can
the age of 45, using his own system of be learned, can be mastered. Like any
exercises; Michael Kravets, also Russian, skill, this personal adjustment can be easy
who achieved amazing results working and swift and come naturally to some, and
with children; and American D. L. Burge, for some it is a more lengthy and compli-
who works with adults and children. In cated process, requiring patience, a wish
Japan there are remarkable achievements to transcend oneself, and a system of spe-
in developing perfect pitch in children. cial exercises. And as with any technique,
I myself began to experiment in the some people are destined to reach a high
field of developing perfect pitch at the level of virtuosity, and some—only a cer-
start of my teaching career. As a teacher of tain level of it. Those who wish to develop
composition, ear-training and music the- perfect pitch "from scratch" should always
ory, I felt the necessity of developing per- keep in mind—inborn perfect pitch in the
fect pitch in my students from the very majority of cases is very imperfect perfect
first steps of my teaching. pitch, that needs further development and
I always felt that pitch ear-training improvement—this thought will help
is sadly neglected, and as a result, the overcome difficulties one may encounter
majority of students graduating from while developing pitch ear.
music schools receive only relative pitch
ear-training, with the ear so conditioned
to compare pitches, that they are virtually
"pitch-deaf"—unable even to approxi-
mately name the pitch without comparing
it with the orientation point. On the other
Perfect Perfect Pitch and Imperfect Perfect Pitch 12

3 Levels of Levers
H
ere is my classification of forms example, a person can easily
and levels of inborn perfect pitch: recognize pitches in three mid-
dle octaves of the piano, and
1. Universal perfect pitch. It is rarely experiences difficulties or is
met: the ability to instantaneously unable to identify pitches lower
recognize pitches from any instru- and higher. For some people it
ment or human voice, from any is easier to recognize pitches
object producing pitches (clock, only in the upper register of the
church-bells), from any combina- piano, or another instrument;
tion of instruments and/or for some—in the lower register.
voices—from orchestra, chorus,
and not only the ability to recog- Perfect pitch can work horizontally
nize pitches horizontally, but verti- and vertically. Two more kinds of selectiv-
cally, in any combination, also to be ity are connected with it:
able to tell whether a pitch is flat-
tish or sharpish, and to recall c. Horizontal selectivity: the abil-
pitches from memory in any timbre ity to discern only separate
and register. pitches. If a person with such
2. Selective perfect pitch. It is met perfect pitch hears an interval or
more frequently. This selectivity of a chord he or she will name the
perfect pitch comes in various pitches that comprise this inter-
forms: val or chord only when the
chord is broken—that is, when
a. Timbral selectivity: the ability all the pitches of a chord sound
to discern pitches only on one separately, otherwise this per-
instrument or group of instru- son is unable to identify them.
ments of one type—usually the Sometimes horizontal selectiv-
instrument one plays, for exam- ity assumes such an acute char-
ple, piano, or cello, or the whole acter that a person is able to
group of string instruments. recognize the pitch only when it
Sometimes this timbral selectiv- is fully separated from other
ity of the ear is so acute that a pitches, that is, even when it is a
person can recognize pitches horizontal progression of
only on his or her own piano, sounds, a melody, it is neces-
not on other pianos. sary to stop on a certain pitch, to
b. Range selectivity: the ability to separate the pitch from other
discern pitches in a certain pitches for such an ear to recog-
range, in a certain register. For nize it.
Levels of Levers 13
d. Vertical selectivity: the ability developed and improved with the
to identify pitches only in the help of special exercises. But each
easiest chords-triads, and/or in lower level of perfect pitch is the
intervals. In other, more com- lever with the help of which higher
plex vertical combinations such levels of perfect pitch can be
an ear is unable to recognize reached.
pitches unless the chord is bro-
ken. This kind of selectivity is
always combined with the abil-
ity to excellently identify
pitches horizontally.
All aforesaid kinds of selectivity

may be combined—a person's perfect
pitch can be selective both timbrally and
horizontally, or can combine any three
kinds of selectivity.
Special forms of perfect pitch:
1. The ability to recall pitches from

memory which accompanies both
universal and selective perfect
pitch.
2. The ability to hear tiny gradations
within the pitch—to be able to tell
whether the pitch is flattish or
sharpish. This ability is usually
combined with universal perfect
pitch, and sometimes—with selec-
tive.
3. There exists such an interesting
form of perfect pitch as "dirty" per-
fect pitch (as it is called in Russia),
or maybe, more correctly, unstable
perfect pitch—when a person in the
majority of cases identifies pitches
correctly, but sometimes slides a
half-step down or up. It is always
unpredictable what pitches will
slide this time. "Dirty" perfect pitch
can sometimes be universal or,
more frequently—selective.
4. So, in many cases, inborn perfect
pitch is only raw material and as
such, is unreliable, unless further
Levels of Levers 14
4 Proponents of Ten Components
L
et us now analyze the mechanism or light, even round or flat, sharp or blunt,
of perception of the pitch. As you heavy or light by weight.
know, the recognition of pitches by If any person with inborn perfect
people with inborn perfect pitch is instan- pitch analyzed his or her pitch perception,
taneous. And they are usually either it would be clear that there are compo-
unable to explain how they identify nents in it besides the sense of pitch color.
pitches, or are very vague in their explana- Pitch is color, but it is also a place in a
tions: "I hear the pitch and the name twelve-tone row of pitches. So, the second
comes out by itself—G or D# or whatever." component of pitch perception, "compo-
The reason for it is not only in the fact that nent beta," as I call it, is the sense of loca-
people with inborn perfect pitch rarely tion of the pitch. We shouldn't mix up the
analyze their perception, but mainly in the sense of pitch location with the sense of
structure of their perfect pitch—in what the register. Pitch location is only the place
component of pitch perception is predom- of a pitch in the twelve-tone row, the ear
inant in it. We'll discuss it further on in may perceive it in the great range of seven
this chapter. octaves, or in a limited range of two or
But in some cases the answer is dif- three octaves in a certain register.
ferent—"For me C and D, for example, are The sense of pitch location is
just like red and green colors—so differ- always blended with the sense of pitch
ent." This answer sheds some light on the color, sometimes being dominated by it,
perception of the pitch—at least one com- but often dominating subtly the sense of
ponent of this perception is clear—I call it pitch color in pitch perception in such a
"component alpha"—it concerns the indi- way that a person is unable to tell how he
viduality of the pitch or the pitch "color" (a or she identifies pitches. In some cases this
term, which I heard for the first time at domination of the sense of location over
Moscow Conservatory years ago—in Rus- the sense of pitch color is so drastic that it
sian, and encountered again in the manual leads to "dirty" perfect pitch—quite fre-
of D. L. Burge). We'll speak of this individ- quent slidings a half-step up or down. To
ual quality, of this "color" of the pitch later cause "perfect perfect pitch" both compo-
in detail. For now let us mention that pitch nents—alpha and beta—should be
color is sometimes perceived as something blended harmoniously. There is a resulta-
analogous to visual colors—listening to tive component which is connected at one
musical tones a person can actually "see" and the same time with the sense of color
colors—red, yellow, blue, etc. But in the and sense of location—I call it the sense of
majority of cases pitch color is only a cer- the row. We can speak of the twelve-pitch
tain individual quality of the pitch which row in both aspects of pitch color and of
can be defined by ear and formulated ver- pitch location, perceiving the pitch row as
bally, for example, bright or mellow, dark a moment of diffusion of each pitch color
Proponents of Ten Components 15

with the location of each pitch, given in is taken by leap to a less convenient regis-
succession. It is the sense of correlation of ter, or if in a certain chord, a particular
located colors or of colored locations—in combination of intervals between pitches
the twelve-tone row. is especially inconvenient—contextuality
The perception of the pitch is also of pitch perception is connected with tex-
tied to the timbre of the instrument or ture, with register, with intervals between
voice which produced it. pitches, with style and idiom. Further on
So the third component of pitch we'll speak of contextual "recoloring" of
perception is timbre in which the pitch is the pitches.
enveloped. In many cases the timbre The seventh component of pitch
obscures the other components of pitch perception is the sense of the overtone
perception so much, that the ear is unable row*. As we know, the acoustic structure
to identify pitches in more than one tim- of each pitch is complex—each pitch
bre—it leads to the timbral selectivity of includes other pitches as partial tones,
perfect pitch. thus each pitch becomes an acoustical
The fourth component of pitch per- rainbow, and the twelve-tone row—a
ception is the sense of register, which rainbow of rainbows. Some people hear
sometimes is so excellent that a person is only the first 2-3 overtones, some are able
able to identify pitches without difficulty to hear more. Not infrequently one meets
in any register in the full range of the with what I call an "overtone mirage"—
piano. But sometimes a register obscures when an overtone, usually one of the first,
other components of pitch perception, this sounds more real to the ear than the tone
leads to range and register selectivity of that was really produced: a person most
perfect pitch. often names the pitch a perfect fifth higher
The fifth component of pitch per- than the given tone—for example, instead
ception is connected with texture, with of C names G.
horizontality or verticality of pitch units. The eighth component of pitch per-
Vertical pitch units, giving blending of ception is the sense of gradations within
colors, often obscure the perception of the pitch, which gives the ear the possibil-
separate pitch colors of which this chord ity to tell whether a musical tone is flattish
or interval is comprised, and interfere or sharpish. This component is character-
with other components of pitch percep- istic of people with universal perfect pitch
tion, unless the chord is broken, which and some kinds of selective perfect pitch.
leads to horizontal selectivity of perfect The ninth component is what I call
pitch. memory fusion of all the other compo-
Contextuality of pitch perception is nents of pitch perception—the memory
the sixth component. Music consists not of binds, unites simultaneously all these
separate pitches, but of certain logical components in one instantaneous flash of
sequences of them. The context in which recognition. Perfect pitch is perfect mem-
the ear perceives the pitch—after what, ory. Memory is the true clue to perfect
before what, together with what—makes pitch.
it more easy or more difficult to identify The tenth component—I put it sep-
pitches. For universal perfect pitch this arately because it isn't connected with the
contextuality of pitch perception doesn't ability to identify pitches by ear but is con-
matter, but for some types of selective per- nected with the reaction of all the human
fect pitch it matters, for example, if a pitch

organism on the pitch that is heard. Espe-
cially pronounced is the muscle reaction.
Many musicians, mostly vocalists,
know how vocal chords react on the pitch,
and often a person can identify pitches
with the help of the tension of his or her
vocal chords, being unable to identify
them by ear. Each pitch causes certain ten-
sion of vocal chords and some people
become very proficient in identifying
pitches using their vocal chords. This way
to identify pitches can be helpful, but any
vocalist will tell you that it is not entirely
reliable, because different times of the day
causes different tension of vocal chords
necessary to produce a certain pitch.
There is also tension in the muscles
of human hands when one hears the pitch.
Some people can use this muscle tension
of the hands as the means of identifying
pitches in the manner of vocal chord ten-
sion.
I don't forbid my students to use
vocal chords as the means of helping the
ear at the first stage of developing perfect
pitch in those rare cases when they hum
pitches at our perfect pitch lessons, trying
to clarify for themselves a pitch: after all,
we react on pitches with every cell, every
organ of our bodies, but I don't encourage
them to do so.
*Each vibrating object (be it a string, or human vocal chord, for example) vibrates not only as a whole, but
also parts of it vibrate—each half of a string, each third of a string, each quarter of a string—it produces so-
called partial tones or overtones. The human ear can often perceive the first two or three overtones, some-
times—more, rarely we meet people who can perceive distant overtones.
The Overtone Row

5
To Have or Not to Have—
That is the Question—
or How to Gather the Pieces Together
U
p till now we analyzed only what mony is somewhat lacking in a certain
it means to have perfect pitch. But aspect or aspects. But in case a person
the main goal for those who read can't identify pitches it means that as in a
this book is to find the clue how to certain electric gadget you need to switch
develop perfect pitch. The knowledge of something on to make it work, to connect
the mechanism of pitch perception of the what is disconnected. In the future, the
people with inborn perfect pitch will be research on the human brain will probably
extremely helpful for those who develop shed light on the fact why some people
perfect pitch—it will help explain certain possess this harmony, while other lack it.
peculiarities, problems and difficulties But my teaching experience showed me—
that arise on the way to developing perfect what is lacking are not the components
pitch, it will encourage one to go from themselves, the components are there, the
lower levels to higher levels in one's only thing that is lacking is memory
development, those levels analogous to fusion that would unite all the compo-
the types of selective perfect pitch. nents of pitch perception in the explosion
Let us speak now as to what it of recognition.
means not to have perfect pitch. The com- And could it be that some compo-
mon point of view—with perfect pitch it is nents of pitch perception are switched on,
either all or nothing—either you have it, actually working, while other are simply
and then you have it all, but if you don't not switched on simultaneously with
have it, it means that you have not even a those working?
rudiment of it. Our previous acquaintance So, how to gather pieces of the pic-
with the levels of inborn perfect pitch, ture together?
with selectivity of inborn perfect pitch in First and foremost, we should be
so many cases refutes the first part of this aware of the fact that out of the ten com-
postulate. And now we'll refute the sec- ponents of pitch perception three are the
ond part of this point of view. most important—(i) the sense of pitch
My pedagogical practice has con- color (component alpha), (ii) the sense of
vinced me that people who don't display pitch location (component beta) and (iii)
perfect pitch in reality do have in them all memory fusion to unite them. These com-
the components of pitch perception we ponents determine perfect pitch—a flaw
spoke about previously. Only those com- in other components may lead to selectiv-
ponents are disconnected, like pieces of a ity of perfect pitch, but still a person will
Chinese puzzle that need to be assembled have a certain type of selective perfect
to make a picture. To have the highest pitch, but a flaw in these three compo-
level of perfect pitch is to have all ten com- nents would lead to a person's inability to
ponents in harmonious unity, to have identify pitches. And, as a result of my
selective perfect pitch means that this har- teaching experience I have made a discov-
To Have or Not to Have—That is the Question... 18

ery that became the basis of my system of perceived as belonging to the same group
developing perfect pitch—I have discov- of pitch colors. Some people group colors
ered that all people who can't identify in pairs, for some—it is alternately three
pitches actually have one of these most kindred colors—a pair of colors in a row,
important components actively working, etc.
switched on—either the sense of pitch I made this discovery, analyzing
color or the sense of pitch location. my own pitch perception, the pitch per-
The second component isn't ception of numerous people with inborn
switched on together with the first perfect pitch and of those who developed
because of the absence of memory fusion. or develop it, and, ultimately, studying
A person himself or herself may be the chart of Alexander Scriabin's associa-
unaware of the fact of having one of these tions of pitches with visual colors.* So,
components of pitch perception working. pitch colors group acoustically—by fifths
If it is the sense of pitch location that is and also, by thirds, therefore, a person,
working, it is a clearer picture—a person hearing a tone, can name a pitch, a color
usually names the pitches quite near the that belongs to the same group of pitch
actual pitch—a whole-step or even a half- colors, but which by location is not near,
step lower or higher, but only by chance— for example C instead of F. These mistakes
correctly. This ability to approximately in location produce an impression, that
name the pitch sometimes produces a the person is entirely devoid of the sense
naive opinion that it is "almost perfect of pitch, though in reality it is only that the
pitch"—though in reality it is only one of sense of location is not switched on
its components—the sense of pitch loca- together with actively working sense of
tion—and until the sense of pitch color is pitch color.
switched on simultaneously, perfect pitch I want to describe now the test that
won't appear. I always give my students at the very first
It is a much more complicated pic- lesson:
ture when the sense of pitch color is a I play separate notes on the piano
working component, and is switched on. I and ask each student to identify pitches
have discovered that universality of per- that are given to him or to her effortlessly,
ception of pitch color displays itself in the in the most natural way. I give them the
phenomenon of this perception being following explanation: "Of course you'll
acoustically determined, that is, colors make mistakes, you as yet have no perfect
group by fifths, and by thirds, the pitch pitch. But there will be logic in your mis-
that is a fifth or a third apart is usually takes, that will show me what component
* Alexander Scriabin (1872-1915) , was a great Russian composer and outstanding pianist. The chart of his
associations of pitches with visual colors:
C—red, C#—violet, D—yellow, D#—steel, E—pearly white, F—dark red, F#—blue, G—rosy orange,
G#—violet purple (alternately described as moonshine, frost color, bluish pearl), A—green, A#—steel
(the glint of metal), and B—pearly blue.
Red Orange Yellow Green Blue Violet Purple Steel

F C G D A E B F# C# G# D# A#

of pitch perception you have as working which many are aware themselves is what
actively today—the sense of pitch color or I call pitch—determined perception of
the sense of pitch location." intervals and chords.
And it is immensely important for For such a student an interval or
students to realize that they actually don't chord is recolored when pitches that com-
begin from scratch, that already today, at prise it change, for example, such a stu-
the first lesson, they have in them half of dent after hearing C-F and then F#-B, asks:
what is necessary to have in order to pos- "Is it the same interval?" For such a person
sess perfect pitch.
the perfect fourth F#-B doesn't sound the
Usually at the test students who
same way as the perfect fourth C-F,
have the sense of pitch location working
though the ear of such a person is yet
name pitches a whole-step or a half-step
unable to identify the exact pitches. And
higher or lower than actual pitches, and
sometimes I meet students with aware-
those who have the sense of pitch color
ness of pitch color—awareness more often
working name pitches a fifth or a third
of the color of the keys, rarely of separate
apart from actual pitches. And there are
pitches. Such students usually say that
"mixed" cases—students in whom the
when they play, for example, it is very
sense of pitch color and of pitch location
clear for them that the piece in D major
work alternately—in some cases they
sounds by color differently from the piece
would name a pitch close by location to
the actual pitch, and in some—akin by in Eb major, but the memory doesn't keep
color—a fifth or a third apart from the these differences, so if they hear sepa-
actual pitch. rately a triad, they are unable to identify
Naming a pitch a tritone apart can it—D major or Eb major.
happen in cases, when a person has a keen So again and again we return to
ear for overtones and hears not only the memory fusion. The majority of those who
first 3-4, but more distant overtones too, read this book can recollect how they or
and the "overtone mirage"—when an somebody they know could sometimes
overtone sounds for a person more real identify correctly a pitch or pitches, or a
than the pitch that was sounded on the key in which a piece is written—as if in a
piano—causes a person's wrong answer. moment of revelation, such memory
Often students, especially those fusions happen either in the moments of
who play the piano, display one of the great excitement (mainly positive), of con-
dimensions of the sense of pitch color by centration—during a test, an examina-
being able to tell by ear whether the key tion, or, most often, in the moments of
that was sounded on the piano is white or great relaxation.
black, without as yet being able to exactly On the other hand, children, who
name the pitch. White and black keys of are considered to have inborn perfect
the piano as groups sound different in the pitch, never display perfect pitch immedi-
terms of pitch color for the vastest major- ately after getting acquainted with
ity of students. This fact confirms the uni- pitches—especially if they begin music
versality of the law of perception of pitch studies very young. Sometimes months, a
color that is combined with the high indi- year or even years elapse since the begin-
viduality of this perception. ning of music studies until the moment of
Another aspect of the sense of pitch a sudden memory fusion that unites all
color I often notice in students and of

the pieces of the picture together into per-
fect pitch.
And a question arises—if some-
times the memory fuses together the com-
ponents of pitch perception as to cause
recognition of the pitch, what prevents it,
or what blocks it other times? On the other
hand, if memory fusion ultimately comes
to stay always, what prevented it from
coming earlier?
I will try to answer these questions
on the basis of my teaching experience, in
the next chapters.
Here I would like only to mention
that to cause memory fusion I devised a
system of exercises that lead to gradual
but complete restructuring of the mecha-
nism of auditory perception. The human
ear is extremely malleable—it is well-
known truth, and my pedagogical practice
showed me that it is especially so in the
aspect of pitch perception—the ear can be
conditioned to identify pitches, the mem-
ory to keep pitches.
The main purpose of this chapter is
to give those who want to develop perfect
pitch "from scratch" the clear notion that
they actually begin not "from scratch,"
they already have one of the components
of perfect pitch actively working, that is,
they begin well, and "well begun—half-
done."

6 Esthetics of Synesthetic
L
et us analyze the component nected with weight, form, etc.—heavy,
alpha—the first component of pitch light by weight; sharp, blunt; round, flat,
perception, or so called pitch color. pointed; liquid, solid, etc. If to go deeper,
There are several dimensions of what we one would seek poetical, mystical and
can call the individuality of the pitch or philosophical meaning in each pitch that
pitch color. One of the most important of finds its expression in more complex defi-
them is the dimension one, as I call it— nitions, and in the ultimate depths one
subtle, almost elusive quality of the pitch seeks in the pitches the expression of posi-
that in our auditory perception makes it tive and negative, constructive and
different from other pitches and which can destructive principles of Higher Forces,
be formulated verbally by the majority of interpreting the twelve pitches as an ideal
people. form which Higher Forces used to put into
Definitions given to the twelve it the concentration of the most important
pitches are vastly different and reflect the contents, of most important information—
person's musicality, his or her general twelve pitches are the code, to decipher
intellectual and spiritual level, imagina- which is to touch Eternity with its
tion and ability to formulate verbally the unsolved mysteries.
impressions of his or her musical percep- On the deepest level one treats the
tion. twelve pitches as symbols of known and
If to put aside the most interesting, unknown entities, objects and abstract
individualized and exquisite definitions, ideas. And finally one uses the twelve
we see that there is a set of most common pitches as certain tools not only in a musi-
definitions that are given to pitches by cal sense, but as sojourners on the way of
both adults and children and which led Karma—as certain tiny containers of
me to the conclusion—there is a universal higher meaning that can bring about
law of perception, a universal way to per- either consolation, relief physical or spiri-
ceive pitch color which coexists most tual, well-being and even help from
peculiarly with individuality of this per- above, or something negative—sadness or
ception. even illness and destruction.
These most common, simple defini- So, layers of dimension one of pitch
tions form two upper layers of dimension color—the first, upper, most obvious—
one of pitch color—the first of them— simplest definitions, associations are
associations of mostly visual kind (this mostly visual. The second, deeper layer
way we usually describe visual colors)— brings about a broader circle of life associ-
dark, light; bright, mellow, dull; warm, ations. Still deeper—the layers of emo-
cold; murky, dirty, clear; transparent, tional and poetical associations—the first
opaque; the second layer brings about a of them—simpler definitions—happy,
broader circle of life associations con- sad, pleasant, unpleasant; beautiful, plain;
Esthetics of Synesthetic 22
then—the layer of more complex defini- • Eb—mellow, grayish, metallic by
tions—elegant, mysterious, nostalgic, tint, a symbol of the grayness of
cozy, sweet, bitter, bittersweet, plaintive, everyday life, the idea of accep-
majestic, etc. Deeper on—the layer of tance and of humility.
more expanded poetic definitions; for • E—mellow, a note-complaint, a
example, A—cool as a summer breeze. note-supplication, the idea of sor-
The deepest layers of philosophical mean- row of the earthly lot.
ing are connected with abstract ideas—the • F—on the mellow side, heavy, but
first of these layers—abstract ideas as pos- not from inside, as C, but from out-
itive-negative, good-evil. side, F is a cornerstone, a note-
Yes, we can speak of positive or foundation, a note-mainstay, a
negative energy, contained in each sepa- symbol of physical health and
rate pitch, in this sense we can define strength.
musical tones as good or evil.
• F#—very bright, hot, the idea of
Then, layers connected with
protest, the idea of rebellion, of dis-
abstract ideas which Higher Forces put
sent and discord.
into each pitch making the twelve-tone
• G—a bright, beautiful, sweet note,
row a code.
transparent, liquid, the color of sea-
To try to decode the essential,
water, the idea of universal beauty,
deepest meaning of each pitch is a diffi-
of creativity.
cult, truly formidable task, requiring not
only highly developed general musical • Ab—bright, a sweet, cool, fragile
abilities, and the ear first and foremost, note, a symbol of transient earthly
but also a high general spiritual and intel- beauty, a tender, slightly sad note,
lectual level and poetically inclined mind. color of light lilac, with the aroma
Here is my perception of some lay- of lilac.
ers of dimension one of pitch color of the • A—bright, sparkling, warm, the
twelve tones: idea of love, of God's mercy, a sym-
• C—in the shape of a sphere, heavy bol of consolation, of spiritual heal-
from inside, in between bright and ing, of organic life, the idea of
mellow on the bright side, the idea protection from all evil, A is the
of a heavenly body, of a planet, of a most complex, multi-semantic tone
meteorite, the idea of intellect, out- for me, if to speak of deeper layers
side—the crust, outside—the shell, of pitch color.
inside—the core, inside—the con- • Bb—on the bright side, warm,
tents. sweet, soft, a symbol of simple
• C#—dark by color (brownish-red, earthly joys, of domestic hearth, the
the color of a dark brick wall), idea of coziness, peacefulness, con-
bright, it is a symbol of sorrow, a tentment.
mournful note, a symbol of evil. • B—in the shape of an arrow, very
• D—a mellow tone, light by weight bright, piercingly intense, alarm-
and light by color, the idea of light, ing, not very pleasant.
the idea of immortality of the
human soul.
Yes, on the deepest levels one can musicians this synoptical or synesthetical
perceive for example, C—as the idea of perception was characteristic of the Rus-
intellect, or the idea of heavenly body— sian composers Rimsky-Korsakov and
planet or meteorite—outside—the crust, Scriabin, also the Lithuanian composer
the shell—inside—the core. Or A—the and artist Cürlionis, and the French artist
idea of spiritual health, of love, of consola- Blanc-Gatti were known to possess this
tion, of organic life. As you see, one and ability.
the same pitch can be the symbol of sev- Sometimes a person hearing the
eral abstract ideas—each representing a pitches sees visual colors with his or her
level within a level, so to say, or different mind's eye, so to say—these associations
facets or sides of one and the same idea, or with visual colors are of purely esthetical
a set of ideas with one uniting underlying character, a product of a highly impressive
essential idea as the deepest layer of lay- mind and imagination of a poet. Such way
ers—which is at one and the same time the of perception of pitch colors was charac-
transcendental essence and the higher teristic of Oliver Messiaen (1908-1992), the
purpose of this pitch. great French composer.
At first you should be glad to per- Let us discuss other dimensions of
ceive only the upper, more obvious layer pitch color.
of dimension one of pitch color. But for The second dimension is con-
certain people sometimes deeper layers nected with timbre of the instrument or
may be more obvious than the upper. And voice which produces pitches, with pecu-
very rarely it happens so that the deepest liarities of certain instruments—for exam-
philosophical, transcendental meaning of ple, all the white and all the black keys of
the pitch is clearer than the upper layers. the piano sound differently by color as
Usually upper layers determine the direc- groups, and many people, especially pia-
tion of our thoughts on the way of decod- nists, can tell whether the key is white or
ing the layers. Also the upper layers black by ear even without being able to
determine our ability to recognize pitches, name the exact pitch, perceiving only this
giving our memory something more defi- one aspect of pitch color. And the same
nite, obvious and simple to rely on, while can be said about pitches produced by
fusing together all components of pitch open and stopped strings of the bowed
perception. string instruments.
Sometimes people perceive pitch The third dimension of pitch color
color as directly analogous to visual color. is connected with register. Like tints of
This rare phenomenon is called visual colors, the same pitches in different
synopsia or synesthesia—the cause of it is in octaves, in different registers are per-
the unusual work of the two analyzers— ceived as lighter, brighter (if it is the
visual and auditory—which are switched higher register) or darker, duller, murkier
on simultaneously when one hears a pitch (in the lower register).
unit, be it a separate tone or a chord. Such The fourth dimension of pitch color
people can give the twelve pitches the def- is connected with vertical pitch units—
initions of visual colors—blue, green, red, intervals and chords—which give blend-
yellow, etc. Often this phenomenon is ing of pitch colors in a manner visual col-
interpreted as a serious disorder of per- ors blend.
ception, an ailment, but in my opinion, it Some people think that pitches in
is just one of the individual ways to per- intervals and chords are merely superim-
ceive musical tones. Among the great posed and therefore, it is possible any
moment to put mentally asunder what cal pitch unit and of the effect of "recolor-
was simply assembled. But in reality pitch ing" of each unit when they are taken in
colors never coexist as separate entities succession: one serving as background
within the chord. Each interval or chord color for another.
gives such a blending of two or more pitch The sixth dimension of pitch color
colors as to bring about the third color—a is connected with the complex acoustical
result of the blending. structure of each musical tone—the over-
It led me to the definition "pitch tone row makes each pitch the blending of
unit" which I gave to any vertical element, other pitches—they are present in it as
be it interval or chord—by ear it is per- overtones, thus making each pitch an
ceived as a unit, as one resultative color, acoustical rainbow, the twelve-tone row—
no matter how many sounds the chord a rainbow of rainbows.
includes. We spoke about pitch colors group-
The fifth dimension of pitch color is ing acoustically—by fifths, also by thirds,
connected with contextuality of pitch per- that leads us to the concept of the univer-
ception. There is such a phenomenon as sal law of perception of pitch color, which
imaginary "recoloring" of pitches in is combined with the individuality of this
human perception—it is like visual colors, perception.
for example, yellow, that is perceived dif- The seventh (the most important, in
ferently on a red or on a blue background, my opinion) dimension of pitch color is
the same is with pitches—a certain pitch what I call the "behavior" of each pitch. In
would be perceived differently depending my perception, each pitch has a certain
on the context, on the background of this way to direct itself when produced—up,
pitch. After what it came, before what—it down, straight forward or aside, and a cer-
influences the perception of pitch color, tain shape ("wavy" or "straight"). These
not in a sense of rendering it impossible to qualities of pitches seem to me (and not
identify the pitch, but in a sense of differ- only to me—it was proven so many times
ent feeling of this pitch color—something during my pedagogical work with stu-
as if lost or maybe added to this pitch dents) not to be connected to any particu-
color in our contextual perception of it. lar timbre, but to be universal, displaying
At the initial stages of development themselves on any instrument, in any
of perfect pitch sometimes this contextual human voice, in any timbre.
"recoloring" of pitches can cause difficul- It seems that I discovered a dimen-
ties. Further on, when pitch colors are sion of pitch color that lies on the surface
clearer, this recoloring stops interfering enough to be perceived by every student
with the process of exact recognition of to whom I introduced it. But it is neces-
pitches. This contextual "recoloring" of sary at first to show the way it is done.
pitches led me to the concept of the "color Usually, after I describe to students the
of relationship"—that resultative color first 4-5-6 pitches—where they go, how
which comes on the intersection of the they "behave," the students can them-
color of each separate pitch or each verti- selves tell me where other pitches go, and
their perception usually coincides with most useful tool for them to be able to rec-
mine. So something universal that works ognize pitches and to keep them in mem-
for everybody lies in this, seventh dimen- ory, something definite and concrete.
sion of pitch color. I happened to give my So, the table below gives you what
students a truly reliable, easily perceived, is necessary to start to recognize pitches:
Note Description Visual

Goes down, at first having a curve;
then it falls down straight. The fall is
long.
C
or
Goes straight forward.
Goes aside. It is a “wavy” pitch.

Waves are not too small, and they are
or
E not very fast. For some, it goes
always to the left, for others—to the
right.
Goes down, but unlike the fall of C,
which is long, actually endless, the
F fall of F is short, as if it falls on your
lap and stays there.
Behaves in a more complex way—at

first it is as if it jumps just a bit; then
G it goes straight forward.
Goes up; it is a “wavy” pitch with a

shape of a narrow spiral that goes up.
A
Goes up precipitously, like an arrow;
it is a “straight” note.
B
Goes down, like C, but unlike C, it is

a “wavy” pitch. It goes down (for
C# some—to the right, for some—to the or
left).
Is also a “wavy” pitch. It goes for-

ward in small waves of this shape:
Eb the “waves” move (“hop”) much
faster than “waves” in E.
Behaves in a rather complex way—it

swirls on one plane in a way of rip-
ples in a pond where a stone was
thrown.
F# or
Goes up, but with an initial “scoop,”

goes up fast, almost as precipitously
as B. “Straight” note. or
Ab
Goes gradually up, as if climbing up a

small hill, not fast. “Straight” note.
Bb
Of course, all pitches are produced ears, and some pitches, in our perception,
by vibrations, so scientifically speaking, have less pronounced vibrations so I call
all of them are "wavy." But in our percep- them accordingly: "wavy" or "straight".
tion it seems that some of the pitches have
these vibrations more pronounced for our
All "straight" notes on some instru-
ments can behave so as to repeat the pro-
cess I described several times while the
pitch lasts, for example:
Ab Bb G F
Don't mix this multiple-stage pro- Fire pitches go up, with the excep-
cess with "wavy" pitches. It is much tion of F#, which is a strong subterranean
slower than "waves" in "wavy" pitches. fire, that swirls, being contained, for a
During the lifetime of a pitch it can be time—before eruption. Usually for people
repeated 2-3 times. Of course, vibrato on born under Fire Zodiac signs pitches with
bow-strings causes this process to multi- Water aura are a bit more difficult to mas-
ply itself a million times while the pitch ter, and for people born under Water
lasts, then it becomes truly a "wavy" pitch. signs—pitches that have Fire aura offer
The eighth dimension of pitch color some resistance.
is what I call the "aura" of the pitch. It All this makes sense—all people
seems to be a very personal way of react- are bundles of energy, and twelve pitches
ing to pitches, but it is not something that are also bundles of energy! So we do
is perceived only by me, my students react react—no matter, whether we are aware of
to the aura of pitches, even being unaware it, or not—to the kind of energy, that cer-
of it, naming the pitch of the same aura tain pitches contain, it maybe consonant
instead of the given one, for example, A or dissonant with our energetic make-up,
instead of F#. There are: and also it can influence us in a positive or
• 3 'Fire' pitches, all of them are hot negative way. Especially children are sen-
or warm by my perception—A, F#, sitive to the energy that the pitches exude,
some of them say, for example: "This note
Bb.
is strong" (about F) or "This note is an
• 3 'Water' pitches—E, G, Eb, all cool
enemy, I'll fight it" (about C#), or "This
or cold.
note is a dear friend; I want to hug it"
• 3 'Earth' pitches—C, F, C#, all go
(about Bb), or "This note is like a murky
down.
water; I don't want to come near" (about
• 3 'Air' pitches—D, G#, B, all light by
Eb), etc.
weight, going up or forward.
More about what my children—
students say about the pitches will be in
the book Perfect Pitch for Your Child.
So to summarize all about the mine your pitch recognition as the most
"behavior" of pitches, we receive the fol- important component in your relationship
lowing picture (and this is what will deter- with pitches):

Heavy, round as a sphere, goes down
with a curve in the beginning, then—
straight. Fall is long. C is between
C or
bright and mellow, on the bright
side. Energetically positive. Earth
aura.
Heavy, unpleasantly bright, reddish-

brick color, “wavy” pitch. Energeti-
C# cally negative. Earth aura. Goes or
down.
Light by weight and color. Mellow.

Cool. Energetically positive. Air aura.
D “Straight” pitch, goes straight for-
ward.
Mellow, with greyish tinge, “wavy”

note, goes (“hops”) forward in small
Eb fast waves. Water aura. Energetically
negative. Cold.
In between bright and mellow, on the

mellow side. A “wavy” note, goes
or
aside in not so small slower waves.
E As a note—supplication, it is energet-
ically neutral, assuming whatever
energy a supplicant puts into it.
Water aura.
Firm, on the mellow side, though less
mellow than D, and its mellowness is
different in character from that of E;
F
E—gentle mellow, F—firm mellow.
Energetically positive. Earth aura.
Goes down in a short fall.
Very bright, hot, swirls on one plane
as ripples swirl in a pond, in which a
stone is thrown. Fire aura. Energeti-
cally negative. There is something
unpleasant, too garish in its bright-
ness.
F# or
Sweetly bright. Energetically posi-

tive. Water aura. Goes at first a bit
up, then—straight forward. G is the
note that is the most complex by its
behavior among all the pitches; it
G
undergoes the greatest change from
octave to octave, losing a part of its
brightness in the lower octaves,
especially in the octave just below
middle C.
Cool, bright. Energetically positive.
Air aura. Goes up precipitously with a
scoop in the beginning. After scoop—
Ab or
“straight” pitch.
Very bright, brilliant. Energetically

positive. Very warm. “Wavy” pitch.
Fire aura. Goes up fast enough, like a
A
narrow spiral.
Sweetly bright, not overly bright.
Warm. Energetically positive. Fire
aura. Though opposite by aura, by
Bb the character of its brightness Bb is
nearer to G than to B or A. Goes up
slowly, as if uphill, but not a very
high hill.
Very bright, with something piercing,
pointed in its brightness. Air aura.
Goes up precipitously like an arrow. I
perceive it as neutral energetically—
B
for me it is just a pitch-carrier that
would assume any energy that was
put into it by the sender of a mes-
sage it carries up.
I described only the qualities of down, with "waves" or without them, will
pitches that lie on the surface enough to be be faster in the upper register and slower
noticed by everybody. I again repeat and in the lower register. This slowness con-
emphasize, that these qualities—direction, tributes to the phenomenon that the
waviness or straightness, aura, energy, are behavior of each pitch is clearer for the
intrinsic, universal qualities of pitches that human ear in the lower octaves (with the
I discovered, on every instrument and exception of the lowest, "muddy" octave).
human voice the pitches would have these Now you have in this description
qualities. Vibrato only multiplies the pro- all you need to start to recognize and
cesses described by me a million times. recall pitches. The initial stage is to start
But direction—up, down, forward, aside, perceiving those qualities in pitches I just
also aura, energy—all will remain even described. It is always a moment of great
when a pitch is played vibrato. joy for each student, when something that
I want also to emphasize again the was not clear or vague becomes clear—
fact that "straight" pitches on some instru- "Yes, it does go up (or down, or aside)."
ments (for example, on some pianos) Gradually your correct way of per-
would multiply the process described sev- ceiving pitches brings about their recogni-
eral times while the pitch sounds, but it is tion, and recall—your memory now has a
easy to tell, that it is just a couple of repeti- tool it didn't have before, and on what it
tions of one rather lengthy process, not can truly rely.
"waves" in "wavy" pitches, which should
be very short and frequent. Some students
of mine tell me, that they perceive "waves"
in "wavy" pitches as a series of tiny inter-
ruptions in the sound while the pitch lasts.
Some perceive actually small "waves."
It is understandable, that the pro-
cesses I described—this going up, or
7 Is There a Flaw in the Universal Law?
I
n the previous chapters again and the same time warm, or light pitch
again we returned to the idea of uni- colors, for example. This inner com-
versal regularities in the perception plexity is the cause why a certain
of pitch color. Let us dwell upon this topic person perceives only one side, one
more. aspect of pitch color, other sides of
it stay unperceived by this person,
1. A more general level of universality but may be perceived by other peo-
of pitch perception is the set of defi- ple—one feels only that this pitch is
nitions most frequently used to cool, another—only that it is dark, a
describe pitch colors, and the order third—only that it is harsh, etc.
of those definitions that corre- 3. Universality of the law of percep-
sponds to the levels of pitch color: tion displays itself in the phenome-
the upper level—usually defini- non of grouping of pitch colors in
tions from the world of visual col- our perception, and especially so in
ors, then—definitions connected the fact, that this grouping is acous-
with weight, form, etc., then defini- tically determined—that is, pitch
tions connected with certain emo- colors group in our perception
tional states, moods, and mainly by fifths and thirds. Univer-
ultimately—definitions, connected sal regularity here is combined
with abstract ideas. with individual interpretation of it
2. Another aspect of this universal in the order of what groups with
regularity of perception of pitch what for a certain person.
color is in the fact that the most 4. White and black piano keys sound
important for us, the seventh differently as groups for almost
dimension of pitch color is per- everybody, the same with stopped
ceived the same way by the vastest and unstopped strings of bowed
majority of people. Other dimen- string instruments.
sions of pitch color give greater 5. When the register or the octave
variability of definitions. But how change, the changes in the tints of
come? Is there a flaw in the univer- pitch colors are perceived in the
sal law of perception of pitch color? same way by everybody—the
No, the reason for it is in the inner higher the register or the octave,
complexity of the characteristics of the lighter is the tint of pitch color,
pitch color, that gives many possi- the lower the register or the
bilities of individual variants in octave—the darker, duller is the
definitions—one and the same tint. Also as a universal rule—pitch
pitch at one and the same time may colors are generally clearer for the
belong to the group of bright and at
Is There a Flaw in the Universal Law? 32

vastest majority in the middle difficulties for everyone, there are ways to
octaves, middle register. overcome them which are similar for
6. Another universal rule—generally everybody.
it is easier to perceive pitch colors What is possible to analyze from
horizontally than vertically (though the point of view of the universal rules is
sometimes one meets people with possible to develop.
whom it is vice versa), and contex-
tual recoloring of pitches displays
itself more drastically in certain
combinations of pitches for every-
body—for example, I have noticed,
that while developing perfect pitch,
the vastest majority of students
experience difficulties in perceiving
the pitch color of tones a seventh or
ninth apart from the previous and
also a tritone apart from the previ-
ous. We'll address this problem in
the next chapters.
Why was it necessary to speak at

length of the universal regularities and
rules in our perception of pitch color?
Because this particular sphere—seemingly
so individualized—the sphere of pitch
color—was the cause of perfect pitch
being considered for such a long time as a
mysterious, unapproachable, only inborn
phenomenon: the seeming absence or lack
of universal regularities here scared peo-
ple away from trying to develop perfect
pitch.
But as soon as the universality of
certain laws or regularities is discovered,
it becomes by itself a mighty tool in find-
ing a common treatment, a common
approach or a system in all spheres of life,
and in this particular field—in the sphere
of developing perfect pitch—it gives
everybody who wants to develop pitch
ear a clear notion—what and how one per-
ceives is the same as it is with others, the
difficulties one encounters are the same
Is There a Flaw in the Universal Law? 33

8 Is There an Explanation of the
Sense of Pitch Location?
I
n comparison with the sense of pitch middle, or middle-high, or middle-low. Of
color the sense of pitch location course very low and very high tones are
seems to be less complicated. But I perceived as such, no matter what is the
emphasize—only seems. In reality it is timbre.
even a more elusive and inexplicable com- But this is not the sense of pitch
ponent of our pitch perception—compo- location, it is the sense of register—
nent beta, as I call it. It is blended with the another component of pitch perception—
sense of pitch color in a certain balance in that is working here. The sense of pitch
people with any kind of perfect pitch— location—a much more complex, refined
either in happy equilibrium with it, or and subtle component of pitch percep-
being slightly dominated by the sense of tion—is the sense of the place of a tone in
pitch color, or dominating the sense of the twelve-tone row regardless of the
pitch color, determining by it the type of octave or the register. Of course, the per-
perfect pitch. ception of pitch location is connected both
In people who can't recognize with the sense of register and timbre thus
pitches the sense of pitch location can be causing selectivity of perfect pitch.
actually working but without being united Maybe, someday research on the
by memory fusion with the sense of pitch biological structure of the human brain
color, in this case a person can name will lead to an explanation of the phenom-
pitches near—a half-step or a whole-step enon—why is it so that the person who is
higher or lower than the actual one. Or the unable to name pitches exactly is never-
sense of pitch color can sometimes domi- theless able to name them always approxi-
nate the pitch perception, the sense of mately there by location—a half or a
location being not switched on simulta- whole-step lower or higher than the actual
neously with it because of absence of pitch.
memory fusion. What is the mysterious mechanism
So what is the sense of pitch loca- of it? With pitch color it is really so that
tion? each pitch has certain individual qualities,
First and foremost, don't mix it up though maybe not all of these qualities lie
with the sense of register. If we have a on the surface, but many—somewhat
great range of several octaves everybody deeper within. But these qualities seem
is able to tell whether a tone is very high even less elusive, more understandable
or very low or somewhere in the middle. even in their complexity, than this strange
Very often the perception of whether a ability to feel not whether a tone is low or
tone is high or low is tied to the timbre, high, but to feel the place of a tone in the
and timbre obscures it so that on some tightly packed row of twelve pitches
instruments a person can't determine the which many times repeats itself and with
register of the tone, especially whether it is each octave changes the tints of pitch col-
Is There an Explanation of the Sense of Pitch Location? 34

ors—it is as if each pitch is hanging in the with "dirty" perfect pitch would men-
infinity, it is like being able to find the pro- tion—today all the row as if moved a half-
verbial "needle in a hay-stack," or being step lower or higher, this usually causes
able to perform a juggler's trick or a mira- persistently wrong answers—all of which
cle. So the sense of pitch location today slide a half-step lower or higher than the
defies explanations. But people do have actual pitches, but absolutely correct
this ability, and like all the components of within the row, which is as if transposed
our auditory perception, it can be devel- up or down a half-step.
oped, it can be improved and perfected. Sometimes people who develop
Certainly, the sense of pitch loca- perfect pitch may answer the first note
tion is connected with the sense of pitch incorrectly—not only the sense of color
color, at least some sense of pitch color is and of location of each pitch is unclear at
necessary to cause exact recognition of the this time, but also the feeling of the row is
pitch, the same way the sense of pitch not firmly established—but as soon as the
location is tied to the sense of register and first note is correctly identified with the
of timbre. But this component beta—the help of a teacher or a partner the row, as if,
sense of pitch location—does exist as a restores itself and all subsequent answers
separate component of pitch perception— are correct.
in those who being unable to name the This may persist even in the middle
exact pitch always name the pitch a half or stage of development of perfect pitch.
a whole-step lower or higher than the The sense of the row is fully estab-
actual pitch. lished only in the last stage of develop-
And it is confirmed by the existence ment of perfect pitch. This explains the
of "dirty" perfect pitch and by the fact that phenomenon of sometimes losing the row
many people with inborn perfect pitch, on in the middle of the answer—as if for a
the question how they recognize pitches, moment a person is thrown out of the
either would just plainly say that it is loca- row—some students call it "temporary
tion that they perceive first and foremost, blackout." The sense of the row is restored
hearing the pitch, or are unable to explain again, after the mistake is corrected.
how they perceive pitches. But don't think that this moment of
As soon as there is a definite sense restoration of the row is actually a
of pitch color that dominates in pitch per- moment of receiving a certain orientation
ception, a person can easily analyze and point with which to compare the next
explain his or her mechanism of recogni- note, though only involuntarily. It is not
tion of the pitches. But as soon as the sense so. The sense of the row is not another
of pitch location dominates in pitch per- name for relative pitch. It is a very com-
ception, a person is mostly unable to tell plex resultative component of pitch per-
anything about how he or she perceives ception which can be defined as a moment
and recognizes pitches. And it is really of diffusion of each pitch color with loca-
impossible to describe how one feels the tion of each pitch which forms a succes-
location of the molecule that hangs liter- sion in our mind.
ally in thin air. We perceive the twelve-tone row as
On the intersection of the sense of a succession and correlation of located col-
pitch location and the sense of pitch color ors or colored locations.
there exists also a no less mysterious sense Sometimes I think—these separate
of the row of pitches. Sometimes students located colors or colored locations are only

ribbons of the rainbow, only pieces of In time, when a person moves fur-
stained-glass. The whole twelve-tone row ther and further along the road of devel-
is a whole rainbow, or stained-glass win- opment of perfect pitch, the amount of
dow. To be able to keep in mind, in your these especially convenient tones will
memory, this stained-glass window is to increase.
have a sense of the row fully established. I have noticed that tones such as B
Pitches are not isolated units. Nothing can and A, and also F#, Bb and Ab, D and F are
be identified and labeled as an entity in the pitches that are easier to recognize for
itself, so to say. Even when we speak of the vastest majority of students.
pitch color—of something that deals with At the first stages of development
individual essence and meaning of each of perfect pitch in my students I try to play
pitch, we perceive those pitch colors at them as the initial pitch one of those
one and the same time as being the color pitches easier for them—this helps instan-
of each separate pitch and in comparison taneously and correctly to establish the
and in connection with other pitch col- row. Sometimes if a person hears as the
ors—the way colors group, the way we first pitch a not yet convenient pitch for
perceive this pitch color, for example—B him or her, a mistake occurs.
is very bright, G, is not so bright compara- Some people think—if a person
tively, A is warm and G is comparatively didn't recognize the first pitch given, it
cool. The same is applicable to pitch loca- means that perfect pitch is not even at the
tion—as soon as we pronounce this first stage yet. But in reality what hap-
word—location—we think about some- pened is only that the row wasn't
thing that is near something, next to some- switched on at that moment, the initial
thing, in-between something. Though the pitch wasn't convenient for it, but as soon
location of each pitch is something unique, as the mistake is corrected, the row is
pertaining only to this pitch, still we can't restored, all the other answers can be cor-
help perceiving each location as a part of rect.
the row, in terms of what pitch goes before At certain stages of development of
it, what goes after it. perfect pitch certain tones may serve as a
There is a question—at what pitch catalyst or, on the contrary, a hindrance in
to begin and consequently, to end this the switching on of the row.
twelve-tone row? For many people the So, we keep in mind and in mem-
pitch C is somewhat basic, and therefore, ory not only the separate color of each
the most convenient pitch to start the pitch location, we also keep in memory a
count of the twelve pitches. succession of located colors or colored
But for many this first point of the locations—a veritable rainbow of pitches.
row may be A or G or another pitch. In A phenomenon of hearing or see-
people who develop their perfect pitch it ing with our mind's eye all the rainbow
is especially often—to feel a certain pitch together, and each separate colored loca-
as basic—this pitch may be singled out by tion or located color on the background of
them as such a basic one because of the all the other located colors gives addi-
greater ease with which they recognize tional dimension to the pitch perception
it—easier than other pitches—the memory and creates additional problems for those
for some reason keeps this pitch better people who develop perfect pitch.
than the other.

9 What Color is the Relationship,
or What is the Relationship of Pitch Colors?
T
hough perfect pitch and relative instantaneously, effortlessly recognize the
pitch are two different functions of intervals between them won't prevent
the human ear, there is an unques- your ear from listening to the other
tionable connection between the two— aspects of these tones—to pitch color and
perfect pitch is by no means separated location of the given tone. Do not try to
from other functions of our ear, and the suppress this ability—to compare tones—
process of development of perfect pitch is if it is done involuntarily, it won't harm
tied in many aspects to the level of devel- the development of perception of pitch
opment of relative pitch, first and fore- color and location, but of course, you
most in the aspect of its being developed shouldn't specially make efforts to com-
on cultivated soil, so to say, and also there pare. Your well-developed relative pitch
are other important aspects of this connec- will do you a good service at the first stage
tion. of your work at the development of per-
We spoke of the component of con- fect pitch—it will help you follow your
textuality in the human perception of the partner (or your teacher) and not to lose
pitch. If the pitch is being perceived also the feeling of the pitch row."
contextually, it means the tie between per- How often students comment that
fect pitch and relative pitch is greater, for a moment they, as if, lose the feeling of
deeper and more significant than it seems the pitch row, as if they are thrown out of
at first. it and for a second feel absolutely disori-
One of the facets of this tie is the ented. After this small catastrophe the ear
happy balance between those two func- recovers for the next few seconds, and
tions of our ear that makes the ear really then normal perception of the pitch row
versatile, all-rounded. The dominance of resumes. Such occurrences are more fre-
perfect pitch without the necessary devel- quent with students who can't follow their
opment of relative pitch leads to perfect partner, who gives them their pitches—
pitch being the master of your auditory that is, with students whose relative pitch
perception instead of the servant, and is undeveloped or underdeveloped. What
therefore, not much of a helper. This con- I mean by following the partner—after the
nection between perfect pitch and relative first note is given, is to effortlessly notice
pitch displays itself as especially obvious, whether the next pitch is up or down from
multi-sided and significant during the the previous one, whether it is taken by
process of developing perfect pitch. Many leap or is a neighbor, and if it is taken by
students with well-developed relative leap, whether this leap is big, medium or
pitch complain that they can't help com- small.
paring the tones they hear. I usually I have noticed that, strange to say,
answer them: "Your being able to compare the majority of students identifying
involuntarily the tones you hear and to pitches easily in various other contexts,
What Color is the Relationship... 37

experience difficulties as soon as the tone ier exercise—A in both cases remains
is taken a minor or major seventh, or a above G.
minor or major ninth, or a tritone up or I emphasize—this is only an exer-
down from the previous note. cise for the initial stage of development of
We spoke of contextual recoloring perfect pitch, for those with underdevel-
of the pitches and pitch units, and in cer- oped relative pitch—just to help the ear
tain context two pitch colors played one cope with so many aspects of pitch per-
after the other obscure or even kill each ception, especially with one of the tricki-
other, like sometimes flowers put in one est—with the dependence of this
and the same vase do. In such cases rela- perception on the context.
tive pitch can help—after all, a neighbor Later on, there will be no necessity
will always stay a neighbor, no matter in for this or similar exercises—the ear will
what octave it is given, on what distance, a get adjusted to the main components of
second, or seventh, or a seventh four pitch perception—to pitch color and pitch
octaves up, or a ninth—so actually the location, and the memory will keep the
pitches a seventh higher or a ninth lower pitch row. But in the initial, and some-
are both only neighbors from below, and times, even in the middle stages of devel-
the pitches a seventh lower or a ninth opment of perfect pitch one should use all
higher are both neighbors from above. resources, everything at one's disposal to
For well-developed relative pitch it make the ear adjust to the row of pitches,
is easily comprehensible—instantaneous- including the ability to involuntarily rec-
ly, when hearing one pitch after the other, ognize the interval between pitches and to
thus helping the newly-born sense of pitch use it to stay in the pitch row, and to avoid
color that at first may fail in certain con- mistakes.
texts. The same way well-developed rela-
For those whose relative pitch is tive pitch is helpful to follow the partner
not developed enough I offer the trill exer- when vertical units—intervals and chords,
cise: are given. Sometimes for certain students
Play on the piano different pitches the moment of contextual "recoloring" of
on the distance of a seventh and ninth up the pitch units is so acute as to cause con-
and down and to try to mentally relocate stant mistakes when for example, the triad
the pitch that is on the distance of a sev- is given on the distance of a tritone from
enth or ninth to the trill position towards the first—acoustically these two triads are
the first note—for example, to take C, then antagonistic to each other.
B a major seventh higher, and then to relo- So often I tell my students—there is
cate B an octave lower and to trill mentally a color, a compound pitch color of each of
or at first, singing aloud—you'll receive a these triads, and there is, as if, a color of
trill C-B—two nearest, neighboring relationship between them—a certain
pitches, B in the trill will be below C, complex individual quality of the succes-
though actually it was taken a major sev- sion of pitch units in time—not unlike the
enth above. color of separate pitch units, but infinitely
The same is with a ninth—take, for more difficult to formulate verbally. As if
example, G, and then A, a major ninth it is the third, the most complicated aspect
above, and then mentally relocate A to the of pitch color—first being the color of sep-
trill position towards G. It is even an eas- arate pitch, second—the compound color
of vertical pitch units—a blending of two

or more pitch colors that give us a third, was necessary, for example, to transcribe a
new color, and the third aspect—a very melody, at the same time most success-
complex category—the color of horizontal fully developing recognition of separate
relationship of horizontal or vertical pitch disconnected pitches.
units, when the compound quality of the So in this second case to overcome
color is not a simultaneous blending, but a this tie of pitch perception to the context
successive demonstration of the color means to develop relative pitch first and
components in time, that unite in the most foremost—the instantaneous and involun-
complicated manner in our ear not unlike tary recognition of the interval and func-
how a certain visual color unites in our tion within a scale that will work
mind with the color of its background. combined with the sense of pitch color
I offer the following exercise while and location of each separate pitch.
working at triads with my students: My teaching experience proved to
Play and listen attentively to all me that if to have an inborn perfect pitch,
possible variants of relations between the it not always means that all that is pertain-
first and the next triads, for example, play ing to the relationships between the
C major and then play an F# major triad, pitches is easy. I have taught students
trying to grasp the color of relationship with such types of inborn perfect pitch
together with the separate color of each when the sense of the pitch was so domi-
triad. Then play C major and E major; C nating in the balance of the functions of
the ear, that the pitch unit, for example,
and Eb major; C and A major; C and Ab
interval, was perceived only as a combina-
major; C and B; C and Bb; C and Db; C and tion of certain pitches, and if it was neces-
D major; and then C in combinations with sary to recognize the interval, it was
all minor triads of the 2nd and 3rd degrees impossible for such students to instanta-
of kinship. The memory gradually will neously, parallel with the pitches, recog-
learn to keep the color of relationship nize the generic color of the interval, and
together with the color of each separate the painful process of calculation often
triad. began—how many whole and half-steps
Of course, mainly there is no need there were between the first and the sec-
to do this exercise with triads the relation- ond pitch, how many degrees of the
ship of which is simpler—relative major scale... Especially it is painful when per-
and minor and other relationships of the fect pitch is "dirty," and, therefore unreli-
first degree of kinship. But in case of more able—then it is very easy to name one or
distant relationships between the triads both of the tones a half-step lower or/and
this exercise helps at the initial stage of higher, and therefore miscalculate the
work with vertical units. interval.
I have met students for whom con- So it is necessary to make the ear
textuality of pitch perception was actually really versatile, able to recognize the inter-
helping in recognizing pitches. For these vals and chords by their special generic
students to write down a melody, a logical color, which is not connected with pitches
succession of pitches was a much easier it comprises.
task than to recognize separate, discon- There is one more aspect of color,
nected pitches. And I have met many with connected with our auditory perception—
the opposite way of pitch perception— the generic color of each interval and
when a person was at a loss as soon as it chord—which is considered a much

more obvious quality than pitch color.
One should learn to recognize it the same
instantaneous way as pitches.
In an inexplicable way sometimes
the sense of pitch color, as yet not fully
developed as to cause perfect pitch, but
which nevertheless is there, interferes
with the perception of the intervals and
chords. Such students after hearing the
minor third C-Eb and then F#-A will ask—
is it the same interval? Usually such stu-
dents are considered at the lessons of con-
ventional ear-training as having a tough
ear, because they persistently give unsta-
ble answers—for them the same intervals
or chords sound differently when pitches
change though they are as yet unable to
name the exact pitches. Such students as a
rule are those who develop perfect pitch
the easiest and swiftest way and who then
may develop excellent relative pitch when
the perception of each interval and chord
will be connected for them with pitches—
on the basis of being able to tell the exact
pitches.
So, you see, the connection between
perfect pitch and relative pitch, the inter-
action between these two functions of
human ear and the balance between them
are multi-faceted, deep and of paramount
importance.

10 Perfect Pitch and Relative Pitch—
Allies or Enemies?
N
ow we know that the connection ous development of these functions of our
between those two functions of ear.
our musical ear is obvious and In some cases, as we know, perfect
unquestionable—though relative pitch pitch and relative pitch can become ene-
and perfect pitch develop seemingly inde- mies instead of allies. There are people in
pendently, in reality they compliment whom perfect pitch suppresses all the
each other, they are close allies. The devel- other functions of the ear, especially rela-
opment of one function is helpful in devel- tive functions—such people can name the
oping another. The more cultivated your pitches of the interval or chord easily, but
ear is by development of relative pitch the the generic color of the interval is not clear
more successful the development of your to them—they literally figure it out,
perfect pitch will be. Relative pitch, as you whether D-Bb is a fifth or sixth, a major
already know, helps when you develop sixth or a minor sixth. This inconvenience
perfect pitch in all transitional stages—to persists for quite a time, especially so
follow a partner, and, therefore, not to lose when perfect pitch is "dirty."
the pitch row. You can also figure out rela- And sometimes relative pitch is so
tively the pitches that comprise a chord or developed that it persistently interferes
an interval after recognizing one of the when a person starts to develop perfect
pitches, usually the lowest or the highest. pitch. Such people for a long time can't get
Perfect pitch, whether inborn or rid of the habit of comparing pitches;
developed, helps the ear handle the though the pitch color is quite clear for
sphere of relations between musical tones them, still they feel their relative pitch is
by making it easier to transcribe a melody, so entirely reliable and comfortable that
to write down music you compose, to they continue to compare even when they
sight-sing, etc. realize that there is no need for it.
Perfect pitch and relative pitch are Such cases can be difficult to han-
interdependent. Contextuality of pitch dle—sometimes the perfect pitch of such
perception is the first aspect of this inter- people remains always underdeveloped
dependence. The "color of relationship" and incomplete. On the other hand, many
we spoke about in Chapter 9 is one more students while developing perfect pitch
aspect of the interconnection between per- try to artificially suppress all the relative
fect pitch and relative pitch—this resulta- functions of their ear, being afraid to com-
tive color which comes on the intersection pare pitches.
of the color of each pitch unit and of the It is the wrong way to go.
effect of specific "recoloring" of each unit The right way to develop a really
on a certain background. versatile perfect ear is to seek the balance,
But perfect pitch and relative pitch the harmony between perfect pitch and
are allies only in case of normal harmoni- relative pitch, being able to sometimes sac-
Prefect Pitch and Relative Pitch—Allies or Enemies? 41

rifice convenience of old reliable habits for time and effort than to develop perfect
the sake of acquiring new concepts, new pitch.
ways of aural perception, and on the other People are remarkably patient and
hand, being able to use all the means at tolerant with the results of their relative
your disposal to reach the desired result. pitch ear-training. Somehow the idea that
But the main goal of this chapter is the highest level of relative pitch is avail-
to disprove certain myths concerning the able to everyone (though it is not a true
interconnection of perfect pitch and rela- notion) helps people after years spent on
tive pitch and to shed some new light on relative ear-training to put up with rather
it. modest results of their efforts. In reality
Many people think relative pitch is relative pitch, like perfect pitch, consists
the lower level of perfect pitch, and if per- also of many levels, and to climb this rela-
fect pitch—the higher level of one and the tive pitch ladder is not easier, in fact it is
same aural perception—is only inborn, harder to climb it, if to rely only on rela-
relative pitch can be developed to the tive pitch (if you don't have the help of
highest level of proficiency in just every- perfect pitch) than to go from level to level
body. It is a myth. of perfect pitch.
Though interconnected, perfect Let us now speak of the intercon-
pitch and relative pitch are two different nection between these two kinds of audi-
functions of the human ear. My teaching tory perception.
experience has proved to me many The phenomenon of "recoloring" of
times—relative pitch that is truly excel- intervals and chords when pitches of
lent, that immediately or very soon after which a unit is comprised are changed (for
getting acquainted with intervals and example, the perfect fifth will sound dif-
chords will give you 100% exactitude and ferently—brighter or mellower, if it is B-
marvelous speed in recognizing intervals F#, or Ab-Eb)—is the reverse side of the
and chords, and especially, which gives phenomenon of "recoloring" of pitches
the same high exactitude and speed in depending on the context, on the back-
writing dictations of more complex kind ground. That is—contextuality of pitch
(chromatic, with big leaps, two, three, or perception is the same phenomenon as
four-part) is as rare a phenomenon as uni- pitch-determined perception of intervals
versal perfect pitch. and chords. This pitch-determined per-
People are somehow convinced ception of intervals and chords we meet
that good or even excellent relative pitch sometimes in people who can't recognize
is something that is given to almost every- exact pitches as yet, in whom all compo-
body, or that at least relative pitch is nents of pitch perception weren't bound
something that is easy to develop. But it is by memory fusion, but who nevertheless
far from the truth. feel that the same interval sounds by color
In reality to develop truly excellent differently if the pitches that comprise it
relative pitch—such as would give you change.
the ability to recognize all intervals and The same can be said about the
chords in any arrangement absolutely "color of relationship"—we can reverse it
exactly and instantaneously, and to write and receive "relationship of colors"—
excellently music dictations of any kind which expresses itself in the resultative
relying only on relative pitch—takes more component of pitch perception—sense of
the twelve-tone row.

The rainbow of located pitch colors ing of pitch colors that unite in a new,
tinges the rainbow of the degrees of the resultative pitch color of the whole unit—
scale. All this leads one to the conclu- and we also deal with a certain aspect of
sion—all musical tones that are related are relations between the tones—their inter-
pitches, and all the pitches that are used in blending, which gives generic color of the
music are related, are in certain kinds of unit—be it, for example, a major triad or
relationships. perfect fourth.
Music doesn't consist of separate Function of the tones within the
tones. scale is the final result of the relationships
Therefore the idea that perfect pitch between the tones, when artificially con-
deals only with separateness of pitch units structed sequences of horizontal inter-
is absolutely wrong and in my opinion is vals—mainly seconds—create a certain
the main obstacle in the way of develop- kind of interdependence and subordina-
ing perfect pitch for so many people. tion between them. But this hierarchy
Perfect pitch is the kind of auditory within the tonality is always pitch-col-
perception that also deals with relation- ored. On the intersection of tonality as
ships between musical tones, only the hierarchy of functions of musical tones—
aspects of these relations are different and pitch position—pitch location of this
from those connected directly with rela- tonality—the key is born.
tive pitch. Horizontal sequence of intervals
Relative pitch deals only with final creates a mode, a series, a major or minor
results of relationships between pitches. scale. It is a more general, abstract kind of
Perfect pitch deals with all the pro- relationship. Pitch position makes the
cess of relations between musical tones, relationships within the mode, the scale—
beginning with the initial stage—deter- concrete. Instead of an abstract major
mining the individual quality of each sep- scale—the key of D major, for example.
arate pitch, going through other stages— Instead of algebraic symbols—concrete
the next—locating the color of each pitch, figures.
as soon as we add location to the color we All kinds of relationships between
begin to deal with relations between the musical tones belong at one and the same
tones; because location means that some- time to both the spheres of relative pitch
thing has its place below or above or and perfect pitch—only in different
between something, that is, in a kind of aspects. For example, the direction of the
relationship towards something, thus on horizontal line—downward, upward; the
the intersection of the sense of pitch color kind of motion—stepwise, or by leaps,
and sense of pitch location the sense of what kind of leaps—large, small, medium,
pitch row is born. what kinds of intervals—a perfect fourth,
If to speak of contextuality of pitch perfect fifth, major sixth, minor third—are
perception, which means that each pitch is between pitches, repetitions within the
recolored depending on what is the con- horizontal line—all this creates the con-
text, what is the background—again we text, that can "recolor" pitches, influence
deal with the result of relations of a certain the perception: A after B in the same
kind between the tones—that is—with octave is perceived by the ear differently
horizontal correlation of their colors. than the same A taken by a big leap after B
When we perceive vertical units—inter- in another octave, or taken by a medium
vals and chords—we deal with the blend- leap, after D in the same octave. A pitch at

the distance of a perfect fifth from the first
is perceived differently than this same
pitch if it is the distance of a major sev-
enth or a tritone from the first.
A melodic line, which is a succes-
sion of certain intervals and certain func-
tions of the degrees of the scale from the
point of view of relative pitch, becomes
significant in the aspect of perfect pitch
not only because concrete pitches make an
abstract sequence of intervals and func-
tions a concrete melody in a concrete key,
but also in the sense of including all
twelve pitches or omitting some, of
emphasizing certain pitches by repetition,
rhythmically or metrically (on notes of
long duration, or on heavy beats).
The same is with vertical units—a
perfect fifth, or major sixth or minor six-
four in the aspect of relative pitch will
remain a general, abstract, algebraic unit,
with emphasis on something pertaining to
all perfect fifths, major sixths, etc. Only the
pitches that comprise the unit give it its
concrete character, its individual color—
the major sixth D-B or the minor triad F-
Ab-C.
Relative pitch deals with the sphere
of the abstract form of the relationship,
perfect pitch—with the concrete contents
of it. But—in both cases—with relation-
ship.
So never make an awful mistake
suppressing your sense of relations
between the tones while developing per-
fect pitch—perfect pitch also deals with
relations between the musical tones—giv-
ing them their concrete meaning, as if
breathing life into an abstract idea.

11 Perfect Pitch—
a Servant or a Master?
O
ne of the questions the students such attempts added even more negative
who come to me for the first time elements to discredit the idea of develop-
most frequently ask: what are the ing perfect pitch.
advantages of having perfect pitch? So But always there were and there are
many musicians are without it and still do teachers who are really successful in their
very well. work with students and whose students
Maybe perfect pitch is just a luxury, do develop perfect pitch—many—selec-
something one can do without. And some- tive perfect pitch, and some—universal
times they mention those musicians who perfect pitch.
complain that perfect pitch actually is a bit Perfect pitch is not a luxury, given
of a nuisance for them: they can't play a mysteriously to some lucky guys, with
piano if it is out of tune and can't listen to which they themselves don't know what
a recording of a piece if this recording to do, it is a necessity for any musician,
sounds a micron lower than the key in professional or amateur, because perfect
which this piece was written. pitch is not only about how to tell F from
I always answer them "yes, the G!
majority of professional musicians are Perfect pitch first and foremost
without perfect pitch because as an inborn means perfect musicianship. Surely this is
ability it is not so often met." the ultimate goal of everyone who comes
In Russia, in a musical encyclope- to music, no matter, professionally or as
dia, it is written that only 5% of all people an amateur. Piano teachers, whose stu-
on the Earth are born with perfect pitch (I dents attend my perfect pitch class, tell me
always thought—what to consider an that they notice in their students great
inborn perfect pitch—as you already improvement in memorizing, in tone-pro-
know, there are many kinds of it, and duction, in general ear alertness—of all
therefore, 5% only if to count those who functions of the ear, improvement in gen-
were born with universal perfect pitch), eral musicianship, in the ability to sight-
and unfortunately, the idea of developing read, to transpose. And of course, my sys-
perfect pitch was, and still is, not so popu- tem of pitch ear-training helps in the same
lar because of the complete ignorance of way students who play string and wind
the majority of people—how to approach instruments, composers and vocalists.
this problem, what is necessary to do to For those who compose music, per-
develop perfect pitch, because of several fect pitch helps in imagining mentally and
fumbling, awkward attempts by certain in writing down their music, in choosing
teachers who did more harm than good to the appropriate key for music of certain
the idea of developing perfect pitch with character, in choosing the right pitch posi-
their hasty, immature approach to this tion for each vertical and horizontal unit
problem. Advertising din accompanying they use in their pieces, in improvising.
Perfect Pitch—a Servant or a Master? 45

It is clear to everybody that perfect the individual color of each key, it will
pitch will give numerous practical advan- help emphasize certain details connected
tages to every musician. But also it will with pitch color you didn't think of
help to reveal to you unimaginable, as yet, emphasizing earlier, even if you are as yet
depths and heights—leading you to the unable to identify by ear all those pitches
realm of the transcendental, of great mys- or keys—this will come later.
teries, tuning both your ear and your soul Even at this initial stage of develop-
in consonance and in unison with the ment of your perfect pitch you will
Higher Forces, that sent to us those tiny improve your tone production—it is
containers of Divine Message—all this based on auditory imagination, and this
through twelve musical tones, twelve kind of imagination is being developed
pitches. from the very beginning of your pitch ear-
One will ascend to an absolutely training.
different height of musicianship, penetrat- Have you ever noticed the key of
ing into the deepest layers of philosophi- the piece you play? Often a student is
cal and poetic meaning of each pitch, each unable to tell what it is when asked.
key, each vertical unit, etc. To purely prac- Have you ever done pitch analysis
tical advantages of having perfect pitch of the pieces you play? After noticing
we should add the ease in tuning instru- what is the key of the piece, have you
ments for those who play string instru- noticed, for example, what concrete
ments, in being able to say when your pitches are omitted, what pitches are
piano needs tuning, and in stopping being repeated and how—in a row or on a dis-
an "outsider" when you listen to music— tance, in the same octave or not, what
by being able to identify the key of the pitches are emphasized rhythmically—by
piece you are listening to, you'll "enter in," notes of long duration, what pitches are
you'll be "let inside" the music you listen emphasized metrically—appearing on
to! heavy beats, how the horizontal line
But you should be able to make moves—upwards, downwards, stepwise,
your perfect pitch, even from the initial or by leaps? If there are leaps, then in what
stage of developing it—your servant. direction, what is the range of the theme,
Some people, even with inborn perfect in what register it will sound?
pitch feel that their perfect pitch is the All this pertains to the spheres of
master, not a servant, this is the cause of our perception, connected at one and the
certain inconveniences such people expe- same time with perfect pitch and relative
rience—they simply don't know how to pitch, as if on the intersection of these two
use perfect pitch in a right way—making spheres.
it always serve them. After that, analyze what are the
From the very first moment you get functions of the tones of the theme within
acquainted with the concept of pitch color, the key in which it is written, what are the
you should be able to use your newly concrete intervals between sounds—all
acquired awareness of individuality of pertaining to the relations between the
each pitch, of each key, adding to your musical tones. Notice not only the key sig-
concept of the pieces you play another nature—notice all the keys used in this
dimension, which previously wasn't piece, all the modulations—in the choice
there—it will help you throw in bold relief of the keys, in the choice of concrete pitch
all modulations, enjoying while you play units—horizontal and vertical—the great

composers showed that they sensed that enabling you to feel and understand con-
just those keys, those pitch units possess cepts you weren't aware of before.
certain qualities, certain meaning for The process of developing perfect
them—try to decipher this meaning! pitch will awaken your general ear alert-
Those who compose music—even ness, improve other functions of your
if you are as yet unable to always tell one ear—relative pitch, for example, improve
triad from the other by ear, but are already your musical memory, which, even with
aware that all pitches, all pitch units are only your awareness of individuality of
different essentially, that they possess cer- each pitch unit, each key, receives a
tain individual qualities, you'll be able to mighty help, a mighty support when
choose the key for your composition wiser memorizing pieces.
than, for example, the key Tchaikovsky Further levels of developing perfect
chose for the first movement of his First pitch will bring about still greater positive
Piano Concerto (I always thought that the changes in your general ear alertness and
bright, majestic introduction would sound in your musicianship. The advantages
much better in D major than in Db major). you'll have are innumerable and unques-
You'll think: "Why do I use the fifth A-E, tionable.
One should always keep in mind—
not Ab-Eb, or G-D, or why the seventh C-
to have perfect pitch as a servant is to
Bb, not B-A or C#-B?" develop it in harmony with all other func-
Or: "Am I right in beginning this tions of your ear, with relative pitch, and
piece with the pitch position of my to be humorously tolerant to small incon-
twelve-tone row that starts on F#? Maybe veniences which you'll begin to experience
better to try another pitch position?"—the when you listen to an untuned piano, for
problems, the questions you have never example, or flattish or sharpish intonation
thought about before, or if thought, then when somebody plays a bowed string
these thoughts were never fortified by a instrument.
system, by the knowledge of this particu- The great advantages and benefits
lar sphere. Now these problems, these you will gain when you develop perfect
ideas begin to be in the focus of your pitch out-weigh a million times some
attention! minuscule inconvenience connected with
From the start of your pitch ear- it.
training, from the very first steps of devel-
opment of perfect pitch your compositions
will become more interesting, more logical
and diversified, with another dimension
added to them, the same way another
dimension is added to the pieces perform-
ers play.
So, I emphasize again—perfect
pitch is not only discrimination of pitches.
From the very first steps in developing
perfect pitch it can yield immediate practi-
cal results, adding to your performances,
to your compositions a new dimension,

Memory Fusion—
12 Problems and Solutions,

or a Layer in Time Saves Nine
I
n previous chapters we spoke about hear things not as they are, but as we are;
memory being the clue to perfect and we remember things not as they are,
pitch, about the ninth component of but as we are.
pitch perception—memory fusion—that So what we are—our general physi-
binds together all the other components of cal state, state of mind, unresolved inner
pitch perception in an instantaneous flash conflicts, fears, uncertainties, peculiarities
of recognition. of our way of thinking, of perceiving the
What is the reason that sometimes world—all this influences our ability in
the memory keeps pitches effortlessly and principle to keep or not to keep pitches in
always—in people with inborn perfect memory—if to mean the long-term layer
pitch; and sometimes the memory doesn't of the problem.
want to bind together the components of Your daily state—physical and
pitch perception at all, making them com- moral, your mood today, today's prob-
pletely disconnected; and sometimes it lems and conflicts—being tired, unwell,
works erratically and unpredictably, one upset, angry—or today's positive events
day giving the person the possibility to and feelings will influence your percep-
recognize pitches and another day, not? tion and your ability to memorize, and
In my opinion, the answer to this is will bring about those shifts in results, this
in the field of a holistic approach to our instability of memory fusion I mentioned
body and mind. before—our pitch memory can be blocked
Dr. Jacob Liebermann in his book and unblocked depending on what we are
Take Off Your Glasses and See writes that we today—what we feel and think today—if
see actually not only with our eyes—every to speak of the short-term aspect of this
cell in our bodies takes part in this pro- problem.
cess, every cell is equipped with its own If the color of certain pitches is not
apparatus of vision. clear, and it is often the cause of memory
The same is with our auditory per- being unable to keep pitches, it means that
ception—we hear not only with our ears, inside you something is not yet clear, not
we perceive and analyze auditory infor- resolved. One of the most important pre-
mation with every cell in our bodies, not requisites of excellent and stable memory
only with our ears and brains, and we fusion is the ability to relax, to put aside
store this information not only in the today's worries and troubles in the short-
recesses of our brains—but everywhere— term aspect of the idea, and to restructure,
in every fiber of our bodies. But body and to clarify your perception, to get rid of
mind form a unity in every aspect. fears, to heal, to resolve inner conflicts,
There is an old saying: we see uncertainties, to reinforce positive aspects
things not as they are, but as we are. We of your world outlook in the long-term
can adjust this saying to our topic—we aspect of the problem.
Memory Fusion-Problems and Solutions, or a Layer in Time Saves Nine 48

"Out of sight, out of mind"—this more familiar, more convenient register
saying is very well applicable to those and timbre.
who can't memorize pitches. At more advanced stages of devel-
Let us adjust the saying to "out of oping perfect pitch a tone not recognized
ear, out of memory." in a certain octave can be recognized if
To keep pitches in memory is the given in another octave.
part of being able to perceive the world For example, I play for the student
and to react on it holistically—the way, Ab in the highest octave of the piano, it is
when we always carry effortlessly all the not recognized, then I play this pitch in all
world inside us. We permit the world to the other octaves and usually it leads to
enter us, and at the same time we are the recognition of the pitch—memory fusion
part of the world, the world lets us in, we begins to work in a more familiar, more
are in full harmony with it. Perceiving and convenient octave and register.
reacting on the world this way, we can So, how do you stabilize, smooth
possess what I call "true knowledge" (by out memory fusion in all octaves? What is
analogy with "true ear" of Konstantin necessary to be able to commit pitches in
Saradjev). all octaves to long-term memory?
"True knowledge" is holistic knowl- For it I use the method which I call
edge which will always stay with us, "the method of putting on layers." The gist
because it is part of us, we permitted this of this method: after all the pitches in all
knowledge to become part of us, we, as if, octaves on the piano were mastered by a
diffuse with the knowledge, and what is student and certain individual instabilities
an intrinsic, unalienable part of us that became clear—what register is less conve-
cannot be forgotten! Whereas people who nient (for some—upper, for some—
don't yet practice this approach easily for- lower), what pitches are more persistently
get even what they well know at this elusive than the other—we begin to put on
moment—all this is also applicable to a second layer, that is, to work again with
musical pitches. pitches in each octave of the piano, but the
To have an inborn perfect pitch order of adding the octaves is different.
memory is to have a part of this "true Usually we begin the second layer with
knowledge." In people who develop per- the second octave above middle C, then
fect pitch the ability to keep pitches in we move up, taking two upper octaves,
memory gradually develops from short- then—two lowest octaves—at first the
term (out of ear, out of memory), to mid- lowest but one, and then, the lowest, this
dle-term, and then to long-term, through way encircling the two most convenient
several intermediate stages. and familiar octaves, with which we usu-
Memory reacts on different pitches ally start developing perfect pitch—two
in a different way. Some pitches can be octaves—one above middle C and one
kept in memory easier than the other for a below it.
certain person, because in many cases After we took all those octaves, we
pitch color of certain pitches is clearer return back to those convenient two—
than pitch color of other pitches. Those above and below middle C, thus locking
pitches the color of which is clearer can be the circle, and beginning the third layer,
retained by memory better even at the ini- only this time, for the third layer, we move
tial stages of developing perfect pitch. down—we take at first two lower octaves,
Also memory fusion works better in the then three upper, then return back to

those two middle octaves etc.—this cycle in a row, tonal melodies the way it will be
can be repeated as many times as it is nec- described in subsequent chapters), and of
essary to smooth out, to stabilize the mem- course, aural recall should be demanded
orizing of all pitches in all octaves for each from the student; to imagine, to recall
student, according to his or her individual pitches exactly in that octave or octaves
tempo of development. a student is currently studying as the sec-
Some students would prefer to start ond layer octave or octaves.
the second layer from lower octaves, then While working thoroughly in a cer-
to take upper octaves, in this case the tain octave (or octaves) on the level of the
order of octaves taken in the second and second layer a teacher shouldn't neglect
third layers will be reversed. other octaves—it is necessary to continue
For some students it is enough to to work at them as it is usual for the first
put only a second layer, for pitch memory layer. A detailed description of all exer-
to become long-term. But this is rare. cises follows in the next chapters.
For many it is necessary to put As regards to relaxation, necessary
three and more layers. Of course the next to acquire true stability of your memory
layers will require an absolutely different fusion, I advise to practice the technique
approach to pitches than the first one. of meditation, Ayurvedic or any other
The first layer is a beginning—a style or another relaxation technique, for
student gets acquainted with the concept example, Alexander technique.
of pitch color, ties pitch color to certain
pitch locations, learns roughly to keep
pitches in memory, to recognize them
with increasing accuracy and speed.
In the second layer a student starts
already being acquainted with the pitch
color of each pitch, being able to locate
pitch colors, to recognize pitches, separate
and in intervals and chords, being able to
keep pitches in memory, only not yet sta-
ble. So the second layer means that the
student goes deeper in his or her percep-
tion of pitch color and pitch location,
therefore it is necessary to introduce new
exercises—more complex than before.
In the octaves on which the second
layer is put, it is necessary to cause com-
plete and thorough committing of pitches
to the long-term memory, so in the octave
(octaves) a student is currently working
on, a teacher should give a student
together with separate pitches all kinds of
vertical pitch combinations, all kinds of
horizontal successions of sounds—tonal
and atonal (random "volleys" of pitches
(see Appendix II)—four, five, six pitches

13 All About Aural Recall
T
o be able to recognize pitches is There is one more reason not to
externalized perfect pitch. To be hurry with the introduction of aural recall.
able to recall pitches from memory, There is an aspect, that makes aural recall
to imagine them—is internalized perfect of separate pitches quite an easy and com-
pitch. fortable process—the possibility to always
To recall pitches from memory is imagine the pitch in the register, in the
one of the aspects of the inborn perfect timbre, in the octave that is the most con-
pitch—it is also an ability that can be venient and clear in terms of pitch color
developed. for you.
Some specialists consider aural Often for women—it is the octave
recall one of the highest levels of perfect above middle C, for men—the octave
pitch. And really, the ability to recognize below middle C, sometimes convenient
pitches comes to people who develop per- octaves may be even in the low or high
fect pitch, often easier and faster than the register. But this feeling—what octave is
ability to recall pitches from memory, to more convenient, together with clarity of
imagine them in every octave, in vertical pitch colors comes not at once—not at the
units. This is especially true, if to speak very first stage of development of perfect
about the initial stage of developing per- pitch, so I advise to begin aural recall not
fect pitch. at the beginning, but later on.
It is evident for everybody, that It is much more difficult to imagine
when one hears a pitch, one reacts on a pitch in a concrete octave, and still more
what one hears immediately, but when difficult to imagine it in a concrete timbre,
one tries to imagine a pitch one only tries so aural recall is subjected to timbral and
to revive in the memory how he or she registral selectivity the same way the abil-
previously reacted on this pitch. But that ity to recognize pitches is.
is precisely the reason that I usually start Imagining pitches—aural recall is
aural recall with my students when all the most mysterious part of perfect pitch
twelve pitches are recognized (by them) and can develop in the most inexplicable
more or less accurately in 3-4 octaves, that way.
is, when the pitches are committed more There are people with whom aural
or less to the long-term memory, and recall is preceding many stages of devel-
therefore, the attempts to recall them are opment of pitch recognition. Some stu-
not so frustrating, as they can be, if to start dents can exactly recall pitches from
recall at the very beginning of the process memory even before their newly-devel-
of developing perfect pitch. On the con- oped perfect pitch is expanded in the
trary, at this stage many students even terms of range and vertically.
enjoy the recall of pitches that are already There are also people, whose per-
quite familiar. fect pitch is entirely or partially internal-
All About Aural Recall 51

ized. Those people can recall pitches from unit and to the pitch color of each of them,
memory, can imagine not only separate to work at them with a partner. In time
pitches, but pitch units—triads, intervals. you'll be able to expand your aural imagi-
But it is much more difficult for such a nation in the terms of register—to be able
person to recognize pitches when he or to imagine pitches and pitch units in all
she hears them. It is as if their external octaves.
auditory perception is somewhat blocked, Then try to follow a music score,
whereas the inner function of the ear— imagining exact pitches in separate
auditory imagination—is working excel- parts—melody, accompaniment, and in
lently. But such people are rare. parts, combined together.
Much more often it is vice versa—it The difficulty students encounter
is difficult for a student to imagine with most often is that they slide a half-step or
their inner ear even an interval or a triad. a whole-step down or up, or even more
This ability should be developed gradu- than that, "missing" the necessary pitch
ally—from being able at first only to imag- color.
ine a generic color of the interval or Only in time the memory begins to
chord—for example, how a major triad or keep exact location of each color, as a stu-
minor triad sounds, how a perfect fifth or dent goes from stage to stage—from the
minor second or a major sixth sounds, no acquaintance with pitches—to "dirty" per-
matter what pitches the unit comprises. fect pitch—to horizontally and registrally
Then, the next stage—to be able to selective "clear" perfect pitch in the range
follow with your inner ear a musical score, of two, then three octaves, then expanding
imagining how the music sounds, follow- it to four or five, etc., octaves—to verti-
ing only the relations between the cally selective perfect pitch etc. Both rec-
sounds—at first only to imagine separate ognition of pitches and aural imagination
parts—melody, then, accompaniment, go through all these stages.
then trying to imagine how all parts sound Another difficulty students
together, regardless of the pitch aspect of encounter quite often—the difficulty to
it; again, following only the relations. imagine vertical units purely vertically,
The next stage—to try to imagine without at first mentally breaking them
separate pitches in the octave easiest for into separate pitches.
you. At first I allow my students to men-
Then try to imagine vertical pitch tally break the units, to imagine first the
units in this convenient octave—at first— separate pitches, but then it is necessary to
triads, for example, F-A-C, or D-F#-A, unite them mentally—to try to imagine
then—all intervals and other chords. how the unit sounds vertically.
At first you'll be able to imagine For some students it helps greatly
vertical pitch units only breaking them in developing their aural recall if they try
into separate pitches, but the goal is to be to recollect a certain triad, reviving in the
able to imagine them vertically, without memory a musical piece they know well
breaking them—exactly how they sound if or are playing now, which is in a certain
all pitches are played together. To be able key, for example, in Bb major. That, for
to do so it is necessary to be very well one of my Russian students, was always
acquainted with how these vertical units connected with Prokofiev's "Alexander
sound—to play them many times on the Nevsky"—with that chorus in Bb major.
piano, listening to the generic color of each

One more consideration: when you
externalize your aural imagination by
singing the pitch, your vocal chords them-
selves often can prompt you, "correcting"
your purely mental image of the pitch.
As you already know, our vocal
chords react on pitches with certain ten-
sion, and this, maybe, is one of the reasons
people sometimes show better recall than
recognition of pitches—there is the possi-
bility of vocal-chord help for them in their
recall.
Every student should strive to
develop a harmonious balance between
pitch recognition and aural recall, usually
it is only a question of time—it comes
gradually.
I address more about exercises
developing auditory imagination, and the
inner ear in "Grow a Row Stage II," Chap-
ter 17.

14 Start Smart
V
ery often those who come to my But to approach the development
class to develop perfect pitch ask of perfect pitch realistically, one should be
me at the start: "Will my devel- ready to work for some time—to work dil-
oped perfect pitch be exactly like inborn igently, using the offered system of exer-
perfect pitch?" I always answer: "And cises, going patiently from level to level,
what kind of inborn perfect pitch do you gradually accumulating the necessary
mean—horizontally selective or timbrally skills.
selective? Or selective in the terms of How much time you will spend on
range? Or all three? Or maybe you mean developing your perfect pitch is always
"dirty" perfect pitch? This you will have individual, and it depends on the level of
for sure. If you want higher levels of per- perfect pitch you decide to reach.
fect pitch—it depends on your persever- There are people who develop per-
ance, courage, patience, and your desire fect pitch fast and harmoniously, some
to reach this higher level." progress by fits and starts, some—over-
Yes, reaching the higher level of coming difficulties in the beginning, then
perfect pitch is for patient and courageous progress fast, some—move faster at the
people—for those who are not afraid to initial stage, but then begin experiencing
plunge into the unknown and for those difficulties, and ultimately overcome them
who work persistently and patiently, and progress fast again at the later stages
expecting not an immediate result, but a of the process, some accumulate skills at
deep and complete though gradual first slowly but steadily for quite a time,
restructuring of the apparatus of their and then have a sudden qualitative leap
auditory perception. and move very fast. To cut the long story
The main enemy of many who wish short, there is an infinite variety of indi-
to develop perfect pitch is skepticism, vidual ways and tempi of developing per-
which makes some people impatient with fect pitch.
their progress—they seek immediate I want to be absolutely honest with
proof that it is, indeed, possible for them those who are familiar with the advertis-
to develop pitch recognition, and they ing: "Perfect pitch in a month!" I do not
want the results to come in the shortest believe it is possible to develop perfect
possible time. pitch in a month! Minimal time for the
Instead of a system of exercises, happy few is two semesters—that is, a full
such students expect to find a sort of school year. For the majority, however, it
"philosophical stone" with the help of takes a longer time—three, four, or more
which they will be able to wake up the semesters of study.
next morning and find themselves trans- But ask yourself, if you want per-
formed into entirely new beings, endowed fect pitch at least at the level of vertically
with full-blown universal perfect pitch!
Start Smart 54
selective, isn't it the process, analogous to necessary frame of mind to start your jour-
learning to play an instrument? ney to perfect pitch.
Perfect pitch is a technique, and to Your physical and emotional state
develop a really good technique of, for always influence your perception—so if
example, piano playing, you need years. today you are upset, unwell, tired, preoc-
Yes, years of adjustment of mind and cupied, or angry, agitated, unhappy, or
hands to the keyboard. happy, joyful, jubilant—all will tell nega-
The same is with perfect pitch—to tively or positively on your perception
adjust your mind and your ears to the key- this day. Of course, often you can't help
board of pitches takes time. Of course, less being upset, or tired or whatever, but I ask
time than one needs to become a virtuosic you not to be discouraged by the result of
piano performer. But, nevertheless, much such a day. You should know—in a differ-
more time than some advertisements pro- ent emotional or physical state you will do
fess. Some of you who master the system much better.
of exercises offered in this book will be What else will you need? A piano
able to achieve the highest level of pitch at home for practicing.
recognition and recall. Electronic keyboards are out of the
But for some to develop perfect question, if they are not touch-responsive.
pitch would mean to have only selective You can, however, use a digital piano that
perfect pitch as a result, because perfect is touch-responsive.
pitch is virtuosic auditory technique and, The piano is chosen as an instru-
as with playing an instrument, some reach ment for developing perfect pitch by the
the highest level of virtuosity, others, only majority of teachers who teach pitch rec-
a certain level of it. ognition. The reason for it is in the fact
Still it is wonderful to have perfect that the piano is acknowledged as one of
pitch even on a selective level! Much the instruments on which the individual
depends on your own aspiration towards qualities of pitches—pitch colors—are the
a higher level, but in many cases your most obvious to the human ear. The piano
impatience, lack of belief in the possibility also gives all possible registers in the great
of reaching a higher level, and also lack of range of more than seven octaves, and
diligence in practicing at home will hinder gives all possible vertical combinations of
the progress. pitches—thus a student using only one
So—"How do you begin?" instrument can gradually develop perfect
What do you need, when you start pitch in all octaves, in all registers used in
your perfect pitch exercises—no matter music, and go from horizontal to vertical
whether you attend perfect pitch class, or perfect pitch.
start this system of exercises with a part- Of course those who play instru-
ner or on your own? ments other than piano, will want to iden-
First and foremost you should tify pitches on those instruments. That
leave behind three things—your skepti- will be much easier—but not a single
cism, your fear and your tension—three other instrument gives such an infinite
main obstacles that blocked your ear until amount of vertical combinations (with the
now. exception of the organ and harpsichord)
From now on your motto will be— and such a great range.
"patience, courage and relaxation." Add to Practicing at home with a partner is
it joyful inspiration and you will have the the best way to practice. You can also
Start Smart 55
practice at home yourself the way it is
described in the next chapters, working
with a partner or a teacher at least once a
week.
It is very important to organize
home practicing correctly and on a daily
basis.
It is much easier for children as
they will always have a parent or a sibling
as a partner, and they have time for their
studying.
For adults it is much more diffi-
cult—to find time every day to practice at
home, but it is best to organize it.
Time spent on these daily home
sessions will vary—some will need 5-7
minutes, some—10-15, at the first stage. In
the later stages it will be from 20 to 40
minutes, depending on your general level
of musicianship, your background in ear-
training, your personal difficulties and
peculiarities of development of pitch rec-
ognition and recall.
Also, it is desirable to have at least
some background in ear-training, at least
somewhat developed relative pitch, this
will facilitate the process of development
of pitch ear.
For those who never had any ear-
training it is better to begin with some
time (at least one semester) of relative
pitch ear-training before starting develop-
ing perfect pitch. You can start your per-
fect pitch lessons at any age—there are no
limitations in this aspect.
Start Smart 56
15 Grow a Row Stage I
S
o how do you correctly begin the I answer always this way: "Up till
process of developing perfect now you have never perceived the twelve
pitch? How do you start to grow a pitches as I explained. The reason for it is
row of pitches, gradually changing your the same as for everybody who starts
auditory perception, committing pitches learning something new—only after some
to memory? All exercises I give my stu- time, learning more and more, you can
dents I unite in several groups, with exer- show all your latent abilities for it.
cises on developing the following: For example, when you start play-
i Sense of pitch color. ing the piano, only very few would have
ii Sense of pitch location. an inborn, natural hand position. All oth-
iii Aural recall ers must be taught, must be shown what
iv Auditory imagination. to do, how to hold their hands on the
v Pitch perception in a context. piano. But later on a person with inborn
hand position and the person who was
My students develop perfect pitch taught how to position the hands on the
with the help of the piano (I remind you— piano may show equal progress. Only the
you shouldn't use an electronic keyboard gift of the second person was latent, till the
that is not touch-responsive), as I have teacher awakened it.
already mentioned in Chapter 14, "Start The same is with perfect pitch—
Smart." some naturally, without help from outside
We start with getting acquainted perceive everything that should be per-
with the individuality of each pitch. Many ceived in the pitch, but many need help
students experience a moment of great from outside to awaken their latent ability
inspiration and joy when they at the les- to perceive the pitches the way I just
son start to notice how each pitch described."
"behaves"—usually I explain the behavior The initial stage of the work begins
of 4 or 5 first pitches, and students them- with four pitches—C, E, G, B, and only in
selves figure out the rest. two octaves—above middle C and below
Some students, after realizing that middle C.
there exists something within each pitch Why those four pitches?
they previously didn't perceive, didn't My pedagogical experience con-
notice, will usually ask me: "How come vinced me that these pitches are the easiest
that we have never perceived all this pitches to begin with: C is being perceived
before? Maybe, you just explained to us as somewhat basic by the majority of peo-
this concept and we ascribe to each tone a ple, all four pitches are on an approxi-
meaning, a color, a behavior which is in mately equal distance from each other,
reality not there for us?" and the bigger the distance the easier it is
to locate the pitch—bigger distances facili-
Grow a Row Stage I 57

tate the perception by giving better indica- down like this..." Then draw the pitch C
tion as to the location of each pitch, it is on the blackboard:
the closeness of spaces in the row of
twelve pitches that is the main obstacle to
perceive exact pitch location, also these
four pitches are so different in their behav-
ior: C
• C—goes down
• E—aside
• G—after a small jump goes forward
• B—up Also show it with a gesture. I have stu-
dents, who develop gesture reaction on
I remind you— pitches, and this is very helpful at the first
• C—heavy, in-between bright and stage of developing their pitch ear.
mellow, more on the bright side,
the fall is long Then play C#, explain, draw on the
• E—"wavy," mellow and gentle, also blackboard and show with a gesture its
plaintive behavior, etc.
• G—sweetly bright
• B—very bright, piercingly so, going
up precipitously
C#
Read again attentively Chapter 6, "Esthet-
ics of Synesthetics."
So we start with four pitches with
the distance of a third from each other. This way you will explain the
There is only one place where there is a "behavior" of the half of the pitches, (4-5-6-
half-step between pitches—the space 7 of them in the lower part of the octave
between B of the octave below middle C above middle C, the exact number will
and the middle C itself. But as the pitch depend on how the students react on your
colors of these two pitches—B and C are explanation) and all the rest of the pitches
drastically different, this closeness pre- just play, for students themselves to try to
sents a very small or no difficulty. figure out the "behavior" of each pitch, but
At the first lesson a teacher, how- you should immediately help, if you see,
ever, should present all 12 pitches to the that the student(s) have some difficulty,
student(s), to play them to the student(s)
on the piano and to explain the "behavior," especially with such pitches as F#, G, Ab,
the color of each of the 12 pitches: "This is the "behavior" of which is more compli-
C, it is heavy, it is in-between bright and cated.
mellow, more on the bright side, it goes Help the students, asking ques-
tions: "Is it wavy or not? Does it go up or
down, or stay on one plane? If on one
plane, does it really stay, or does it move
in a certain way—does it swirl? Is it bright
or mellow?" etc.

How does the student work cor- octaves, in all possible horizontal succes-
rectly with C, E, G and B? sions, for you to recognize them.
First and foremost, clear for your- Also you should work with all pos-
self the seventh dimension of pitch color sible vertical combinations of the same
of all four pitches. four pitches—there will be a small number
Some colors may be quite clear for of intervals and chords:
you from the start, some will be persis- • two perfect fifths C-G and E-B
tently unclear, in some cases—at first • two perfect fourths G-C, B-E
you'll perceive a certain pitch color not in • two major thirds C-E, G-B
a way I explained, but then, after getting • a minor third E-G
acquainted with pitches better, your per- • two minor sixths E-C, B-G
ception of this pitch color will change, to • a major sixth G-E
the direction I showed. • a major seventh C-B
So concentrate your efforts on four • a minor second B-C
pitches—C, E, G, B, play them on the • two triads—major (C-E-G) and
piano, listening attentively to each of them minor (E-G-B)
only in two octaves mentioned above, • major major 7th chord (C-E-G-B)
while listening, try to penetrate the indi- and their inversions.
vidual character of each pitch, its behav-
ior, where it goes, whether it is wavy or Listen attentively how each of these
straight, and what is its individual intervals and chords sound, paying atten-
essence. tion to the third, resultative, color that
Then compare these colors, this comes up as a result of blending: how, for
way you'll begin to group them, to estab- example, the presence of heavy C in the
lish a row of them. This way you'll begin fifth C-G makes it much more solid and
to also perceive each pitch contextually— substantial that the fifth E-B, in which the
on the background of what preceded it, piercing brightness of B that goes up
and thus from the very first steps encoun- makes this interval bright and very light
ter the problem of contextual recoloring of by weight. Some of you will be able from
pitches and learn to overcome it. the very first steps to perceive the inter-
Perceive the location of each pitch vals and chords vertically; that is, when
in the row, try to diffuse mentally both the interval sounds unbroken.
feelings—of pitch color and of pitch loca- Sometimes one of the pitches will
tion, play pitches at first in the octave be clearer than the other (others), and it is
above middle C, then—in the octave possible to figure out what is the second
below it, perceive the difference in the pitch using relative ear. But many will
tints of pitch colors when the octave have difficulty in discerning the pitches in
changes—this way you'll encounter and unbroken intervals and chords. In such
begin to overcome another difficulty—the cases it is necessary to break the interval
tie of pitch perception to the register, to (chord), that is, to play the sounds of it in
the octave. succession for the student to perceive it
For some the octave above middle horizontally.
C will be easier to work with, for some— Many people at first can only
the octave below it. In time it should not develop a horizontal perception of
make a difference. Let your partner play pitches, only later on moving to vertical
these four pitches on the piano, in both combinations, to unbroken intervals and

chords. So let your partner play the inter- tically or horizontally. Finally give a writ-
vals and chords comprised of these four ten dictation—a melody comprising these
pitches in a way that is convenient for four pitches.
you—unbroken, or broken, vertically or If you teach a group, ask each stu-
horizontally. dent to recognize separate pitches, playing
What you can also do yourself, for each student the full set, so to say—as I
without a partner, is listen to each of the described above, then—give each student
four pitches—you play the keys at first, 1-2 oral dictations, that consist of 4-5
closing your eyes (switching off this way sounds, then—intervals, chords—better to
your visual analyzer, concentrating only give each student one interval or chord at
on aural perception) and then—opening a time, going through many "rounds" of it;
you eyes, playing these keys again and lis- this way students will stay more alert and
tening with open eyes, thus checking and attentive even towards the end of the les-
reinforcing your perception, always pay- son.
ing attention to whether you still perceive I again emphasize—horizontal suc-
with open eyes all that you perceive when cession can be just random, the way for
your eyes are closed. each pitch to sound as if it is separated
But in all cases it is necessary at from others, or it can be a short melody,
least once a week to meet somebody who utilizing only these four pitches—C, E, G,
can play the keys on the piano for you—to B, or it can be a "volley" of three, four, or
check your progress. five sounds only—3-4-5 pitches given in
If you are a teacher who intends to rapid succession—for a student to listen to
develop pitch recognition in your students it 2-3 times, to memorize it and to name
with the help of this book—tell them at the the pitches in it (examples of such "vol-
end of the first lesson that their home- leys" are in Appendix II).
work will start with only four pitches—C, Parallel with this I always offer stu-
E, G, B—in the range of two octaves, dents a creative exercise—to compose
above and below middle C. small melodies from only these four
At the next lesson(s) play for your pitches—C, E, G, and B, using rhythmic
student(s) at first separate pitches C, E, G, patterns. Even the simplest patterns, such
B in one octave, then in another, then leap- as the Rhythm Line shown at the bottom
ing—giving pitches, alternating the of this page can give a great variety of
octaves—one pitch in one octave, one in combinations—pitches used only in one
another. octave, pitches used in both octaves—
Next give the student(s) horiz- leaping to and fro etc.
ontal progressions—random "volleys" of While playing the pitches, singing
sounds, or small melodies—as oral dicta- them in the process of filling in the rhyth-
tions. Then—give intervals and chords mic pattern, try to pay attention to pitch
comprised out of the four pitches C-E-G-B color, to the pitch location of each—this
in a way convenient for the student—ver-
Rhythm Line

exercise will help commit pitches to mem- developing the sense of pitch location, and
ory. at the same time a sense of register.
At first, using only four pitches, Usually I remind the student of the
you'll be able to compose very simple mel- pitch C during this exercise many times,
odies, but gradually, when you add more playing it again and again.
and more pitches, your compositions will At first students just compare the
become more complicated. Those who are location of the given pitch with C, thus
gifted creatively, can compose, using only accumulating the sense of pitch location at
the pitches they currently study, pieces in first in comparison with the given tone,
any style, any level of complexity, treat- but gradually, especially for those whose
ing 5-6-7-8 etc. pitches they study as, for sense of location is naturally good, it is
example, a mode, or a pitch row, that con- possible to stop reminding, that is, play-
sists of 6-7-8-9- etc. pitch-classes, composing, the C, students will be able to answer
ing pieces in serial or modal techniques. correctly without needing the orientation
Rhythmic patterns also can be point. This exercise rivets the attention of
increasingly complex and intricate. But the student to the place of each tone in the
this exercise can be more time-consuming, row of twelve pitches—something that
only those who can afford some time for it they never paid attention to before.
should do more complicated types of it, Sometimes students experience dif-
those who can't spend much time on it ficulties in recognizing the place of so-
should work only with the shortest, sim- called borderline notes—Eb-E; G-Ab; chil-
plest rhythmic patterns, spending on this dren may experience difficulty in under-
exercise not more than five minutes a day. standing the concept of how a tone low in
Another exercise I obligatory give terms of register can be at the same time in
at the start is the exercise on pitch location. the upper part of the octave and vice
Each octave (which I count from C versa.
to C) is divided into three parts with four Later on, when the feeling of pitch
notes in them—bottom part, middle part, color will unite with the sense of pitch
top part. location, when perfect pitch is expanded
The bottom part includes pitches C, in terms of range, to other octaves there
C , D, D#; middle part—E, F, F#, G; top
#
will be no necessity in this exercise.
part—Ab, A, Bb, B. Even at this initial stage, working
The student identifies the place, the with four pitches, some students may
location of the tone that was played, with- experience difficulties with a certain "stub-
out naming the exact pitch, only telling to born" pitch—most often it is G, then E,
what part of the octave—bottom, middle rarer C, almost never B.
or top—this pitch belongs. To help this pitch settle peacefully
Don't ask what is the octave, it in the ear and memory of the student I
doesn't matter, pitch location is only a offer what I call the "cat and dog" exer-
place of a pitch in a row of twelve pitches. cise/game. The persistently, stubborn and
This exercise, as you understand, difficult pitch is renamed "cat" or "dog," a
from the very first day is not limited to teacher or a partner plays the pitch in suc-
only two octaves in which we study four cession with the other three, constantly
initial pitches—C, E, G, B. We should give returning to it, playing it as every third or
pitches throughout the keyboard, thus even second pitch, the student then identi-
fies the pitches, calling the difficult one

"cat" or "dog" instead of E or G, the sense But I want to emphasize that my
of this game—what is renamed, as if this own pedagogical experience shows, in the
changes its significance—the attention is majority of cases, these four initial pitches
riveted to the pitch which should be will be mastered in 1-2 weeks. If you are a
renamed much more than if it were teacher, much depends on whether you
named the usual way—E or G. are a teacher of ear-training and music
Out of these four pitches G is the theory, who can dedicate the whole lesson
most difficult. A student should be most to developing pitch recognition and recall
attentive to the initial little jump up, in your students, or you are a piano (vio-
before G starts to move forward—if this lin, clarinet, etc.) teacher, who can spare
little jump is missed by the ear, the pitch only 5-10 minutes of the lesson to play
will be perceived as only forward—going pitches for a student.
pitch, and later on could be easily mixed
with D, which goes forward without this
initial jump.
A student should practice at home
daily, starting with 5-10 minutes practic-
ing, then, when we add pitches, the time
of home practicing will increase.
What exercises out of those offered
in this book, each session will involve
depends on many factors—whether you
have a partner for home practice or not,
whether this is the home practicing of a
child or of an adult. It all depends on you
or your student(s) individual needs and
the peculiarities of your/his/her develop-
ment; the tempo of your/his/her progress
and the difficulties you/he/she encoun-
ter.
How much time usually one
spends on four initial pitches—most often
it is just one week, sometimes two weeks,
sometimes—less than a week.
I intentionally didn't present this
process as a succession of lessons—Lesson
I, Lesson II, etc., because much depends
on who reads this book—a teacher, a stu-
dent, or a musician of post-college age;
and if a musician—whether professional
or an amateur, and what are the possibili-
ties of the student to work with a partner.
I presented it as a succession of
stages—how many lessons each stage will
take—will be determined by many indi-
vidual factors and circumstances.

16 Grow a Row Stage 1 (Continuation)
A
s soon as these first four pitches part of the octave. D goes forward and is
are recognized well enough in the mellow.
two octaves we start working
with, a student should add the fifth
pitch—A in both octaves—above and
below middle C.
D
The ear acquires a first barrier it has
to overcome—after A is added, there will
be a place in the pitch row that is compar-
atively densely packed with pitches, there-
fore the sense of pitch location should I have noticed, that students per-
ascend to the higher level, the sense of ceive and commit to memory the pitches
pitch color should become more acute—in in the upper part of the octave much eas-
G, A, B, the ear will deal with three pitch ier, than in the lower part of it. D may
colors in a row that are perceived as present more difficulties than A. Gener-
"bright," and it is necessary to discern the ally, the more the gaps are filled, the more
individual character of the "brightness" of difficult it is to incorporate each new
each of those pitches. pitch—the process of addition begins
I remind you—A goes up, it is often to shake all the newly built edifice.
"wavy"—goes up as a narrow spiral. Add- For some this process would be smooth
ing A takes from one to two weeks usu- and painless—all are individual.
ally, sometimes less, sometimes more After D is incorporated, the next
time. pitch should be added—F.
F
A
F goes down, the fall is short, F is

firm, on the mellow side, though less mel-
As soon as the pitch A is incorpo-
low than D and E.
rated by ear, and is securely recognized in
With the addition of this pitch all
both octaves, the student adds another
the white keys of the octave will be taken,
pitch—D, filling in the gap in the lower
all the seven pitches of the diatonic row.
Details concerning all dimensions of pitch
color, and especially, the most important
Grow a Row Stage 1 (Continuation) 63

seventh dimension are included in Chap- ponents of the pitch—such as pitch color
ter 6. and pitch location.
Some students, having all seven Of course, students shouldn't make
diatonic pitches may begin to slide up and the opposite effort to compare pitches, but
down a whole or half-step because the if the interval between the pitches or the
color of each pitch is not quite clear yet, function of this pitch as the degree of C
the memory isn't quite trained to keep major scale is clear effortlessly, involun-
pitches—it is not able as yet always to tarily to a student—it is only a help, not a
unite all the components of pitch percep- hindrance on the way to developing per-
tion in memory fusion. fect pitch.
But for many students with well- I emphasize again, one shouldn't
developed relative pitch it is a very pleas- try to suppress this ability.
ant time—together with listening to pitch To master seven pitches—C, D, E,
color, to pitch location, they also can easily F, G, A, B—usually takes six to seven
perceive those seven pitches relatively. weeks, sometimes longer. There are peo-
Many such students tell me that it ple for whom it takes the whole semes-
is blissfully easy for them—they perceive ter—and there are people—mainly with
the pitches as degrees of the C major scale. excellent relative pitch, for whom this
This is, as if, an intermediate stage that stage can be very short—less than six
exists between relative pitch and perfect weeks.
pitch—students can't help comparing Practicing at home should also
pitches, having only seven "white" of them increase to fifteen minutes.
that form the C major scale, but at the Of course, it is understandable that
same time they already began to perceive it is necessary to work at these seven
the individuality of each note—relative pitches as I described in the previous
pitch doesn't prevent the sense of pitch chapter—to work at them the way you
color from developing. worked at C, E, G, and B. It is necessary to
I always warn my students: "Don't listen and to identify separate pitches,
try to suppress relative functions of your working with a partner; to identify pitches
ear. They won't harm your sense of pitch, in mini-dictations, "volleys" of pitches, 4-
quite the contrary—your ear at this initial 5-6 sounds in succession and in melodies
stage receives mighty help that is essential comprised of the pitches students cur-
in coping with so many difficulties it has rently study. "Volleys" should be
to overcome." answered orally, melodies can be given as
If such a student with developed a dictation to write or as an oral dictation.
relative pitch can correctly name the first You should work with intervals
pitch that is given to him or her, it is an and chords comprised out of the pitches
indicator that perfect pitch is appearing. you or your student(s) currently study the
Sometimes it is necessary to con- way I described in the previous chapter.
stantly struggle with students who try For the vastest majority of students
mentally to isolate each pitch they hear, at this stage it is necessary to break every
being afraid to compare. Violating their interval and chord for them to be able to
natural and involuntary process of com- identify the pitches in it, but there are stu-
paring pitches by making an effort not to dents, for whom the verticalization of
compare, such a student also blocks out their perfect pitch is easy, they can be
and hinders his or her perception of com- given unbroken intervals and chords of

any structure out of the pitches they cur- write more complex pieces, using pitches
rently study. that are currently studied).
If you are a teacher, you may incor- I remind you again—to work at
porate into your perfect pitch lesson rela- seven pitches only in two octaves—above
tive ear-training, by explaining to your and below middle C.
students intervals and chords parallel Of course, continue games such as
with adding pitches. With the initial "cat and dog," and the inventive teacher
pitches C, E, G, B—explain major and can offer students, especially children,
minor triads, the major major 7th chord, many games of such kind.
and m2, M2, m3, M3, P4, P5, m6, M6, and Parallel with this—add new exer-
M7. cises:
When adding A, add m7 and minor Take all "white" triads—major and
minor 7th chord; adding D and F, add minor, as vertical units as soon as seven
dim. triad, the tritone, and dominant 7th pitches—C, D, E, F, G, A, B—are mastered.
chord, half-diminished 7th chord. Of It is possible to introduce the triads
course, give triads and 7th chords with gradually—taking at first C major, A
inversions, explaining the mechanism of minor, E minor, then adding G major,
inversion to the students. then—F major and D minor following the
There is an easy way to tell what is order of the pitches added.
the inversion of a triad, by noticing what A diminished triad B-F-D is easily
part of the chord sounds larger—bottom identified among all major and minor tri-
part or upper part—in the 1st inversion ads.
bottom part is smaller (a 3rd) and upper It is an easy exercise, because the
part is larger (a 4th), in the 2nd inversion choice is very narrow—all in all—three
bottom part is larger (a 4th) and upper major and three minor triads, and it is
part is smaller (a 3rd). easy because the majority of students with
To describe the inversions of the developed relative pitch are able to per-
7th chord I use the concepts of a migrating ceive them relatively—functionally within
interval of a 2nd: C major. Also many students tell me that
• In the 1st inversion (6-5) of any 7th the color of each triad—that "third" resul-
chord 2nd will be above, at the top tative color, that comes as interblending of
of the chord (example—in D6-5; B, colors of the three pitches of a certain
D, F-G-2nd). triad—is much clearer to them, than the
• In the 2nd inversion (4-3) it will be color of separate pitches.
in the middle of the chord (D4-3 D, If to speak about the "7th dimen-
F-G-2nd, B). sion"—about the "behavior" of each triad
• In the 3rd inversion (4-2) it will be as units—I would like to emphasize, that
at the bottom of the chord (D4-2; F- if in a triad one pitch goes down, two stay
G-2nd, B, D). on one plane, like in a C-E-G triad, it will
Also continue exercises on pitch produce an impression of something that
location; and continue working with goes down.
pitches, composing short melodies, using If there is a triad like E-G-B, one
rhythmic patterns the way it was pitch goes up, two stay on one plane, it
described in the previous chapter (for will produce an impression of going up.
those who compose music it is possible to If in a triad like A-C-E one pitch
goes up, another goes down, and the third

is on one plane, pitches going opposite size, comprised of the seven pitches—C,
directions counterbalance each other, and D, E, F, G, A, B.
the triad will produce an impression of The diminished fifth B-F should be
staying on one plane. easily recognized as different to perfect
If in a triad like F-A-C two pitches fifths; then to add thirds—major and
go down and one goes up, it still will pro- minor, also "white," sometimes it is possi-
duce an impression of going down. ble even to add "white" sixths—major and
Make sure that the direction, and minor, but an average student usually can
other dimensions of the color of each triad only take fifths and thirds.
are clear to you—play each triad many I again stress—all intervals and
times on the piano yourself. chords are taken as units—each having its
How do you work with triads? own pitch color, which is a result of blend-
The way you work with separate ing of two or more pitch colors that are
pitches, at first—yourself, then—a partner included in this unit, by no means you
plays a triad, you try to recognize it as a should consider a vertical unit to be a sim-
vertical unit, in an unbroken form. ple superimposition of pitch colors. I
More about vertical units will be in remind you—if one pitch in the interval
the next chapters, but for now I want only goes up, another down—they counterbal-
to mention that for many it is a rule: all ance each other, the interval stays on one
vertical units are more "colored" than sep- plane, if one pitch goes up (or down),
arate pitches, the more sounds there are in another stays on one plane, the interval
the vertical unit, the more evident is the produces an impression of going up (or
color, this is mainly because vertical units down).
are so numerous that it is difficult to verti- It is very interesting to witness the
calize one's perfect pitch, not because the process—how each student perceives this
color is not clear. blending in each unit—what color domi-
I usually play for my students those nates in the blending in the perception of a
"white" triads in both octaves—above and certain person: the definitions of pitch
below middle C. This way G major and A color of vertical units are much more indi-
minor triads in the octave above middle C vidualized, than of separate pitches.
will include upper pitch that will be in the But for some students verticaliza-
next octave, even before a student begins tion of their pitch ear is extremely diffi-
to add this octave in terms of separate cult, and at this stage it may be even
pitches. impossible for them to master many verti-
Mastering "white" triads, students cal units if to perceive them truly verti-
encounter this "color of relationship" I cally.
mentioned in previous chapters, and learn So the work at intervals and chords
to perceive it together with the color of goes by two tracks—one track is to give a
each triad. student (partner) intervals and chords in a
It is possible to start, together with way convenient for him/her—for the
"white" triads, certain "white" intervals as majority it will be necessary to break
vertical units—I usually begin with per- them, and this way it is possible to give
fect fifths—they, as a rule, are the easiest students any combinations—intervals and
pitch units among intervals for the vastest chords.
majority; begin only with fifths, I empha- Another track would be to try to
master some—for many students a very

limited amount of—truly vertical, unbro- A student should only tell whether
ken units—triads and some intervals. he or she hears a half or whole-step,
I again would like to remind you, regardless of pitches. Pitches are not iden-
that there are students, who can easily rec- tified by students in this exercise. The sec-
ognize pitches in unbroken intervals and ond variant of this exercise is to play a
chords, in this case give them any vertical, succession of major and minor ninths in
that is, unbroken, combinations of the one direction—downwards, then up-
pitches they currently study. wards, starting from the upper or from the
Another type of exercise that is nec- lowest octave. The student answers a half-
essary to introduce at this stage is not con- step if it was the distance of a minor ninth,
nected with recognition of pitches, but is a whole-step if it was a major ninth.
directed to help recognize pitches in cer- Then play a succession of minor
tain contextual situations—I mean the and major sevenths the same way—
exercise "whole-step—half-step." upwards and downwards, the student
As soon as five, six, seven pitches answers a half-step when the seventh is
are introduced in two octaves, the prob- major, a whole-step when the seventh is
lem of perception of pitches on the dis- minor. Then mix together sevenths and
tance of a seventh or ninth begins. For ninths—downwards, then upwards.
some reason for many students this con- Now make these distances even
textual situation leads to mistakes. So it is larger—ninth in four octaves, then sev-
very important for students, first and fore- enth in two octaves, etc., alternating the
most, to master the "trill technique" I directions.
described earlier. But to master it truly Gradually students will be aware
well, one should excellently discern that a whole-step remains a whole-step,
between half and whole-steps. no matter whether the pitches that com-
So I play a sequence of half and prise it, are in the same octave, or one of
whole-steps, starting from one and the the pitches is taken by the leap of five
same pitch, downwards, or upwards—for octaves. And that a pitch a half or whole-
example, A-G-F#-E-D, then I change the step apart is always a neighbor, no matter
whether it is in the same octave, or taken
sequence of half and whole-steps, A-G#-
by leap.
F#-E-D#, then change it again, A-G-F-E- "Trill technique" is a skill to instan-
D#, then again, A-G#-G-F-E, then, A-G#- taneously bring mentally to trill position
F#-F-Eb, etc. towards the first pitch any next pitch at
When this exercise of half and the distance of a seventh or ninth, or a
whole-steps starts from one and the same compound seventh or ninth at a distance
pitch—it throws into bold relief the differ- of any amount of octaves.
ence in half and whole-steps, and repeti- I described it in detail in Chapter 9,
tions of the same half and whole-steps that "What Color is the Relationship."
occur help keep in memory this differ- Together with these exercises it is
ence. possible to start to develop auditory imag-
Then I play such an exercise ination, at first giving students the task to
upwards, for example—E-F-F#-G#-A, then imagine not pitches, but only elements,
pertaining to the sphere of relative pitch—
E-F#-G-G#-A#, then E-F#-G#-A-A#, etc. to imagine how a major or minor triad
sounds, how an interval—be it perfect

fourth or minor seventh—sounds, to be I'll describe in detail such exercises
able to follow the relations between the as "volleys" of pitches and dictations in the
tones in the musical score, regardless of next chapter.
the pitches. Here I want only to mention that
Some students even at this stage sometimes it is possible even at this stage
may try to imagine pitches they currently to give students broken clusters of pitches,
study—after all seven white pitches were when at least five, six, and of course seven
taken; usually it goes with great difficulty, pitches are taken. This exercise brings
so it is better not to ask them in the class- nearer the verticalization of perfect pitch
room, but give it as a home-task, for a stu- which at first develops only as horizontal.
dent just to try, and not to be frustrated if Usually I play eight-nine-ten
pitches persistently slide up or down, for pitches together, only those we study, and
many it is too early to do it on any level in both octaves, doubling some pitches.
other than a mere attempt. After hearing a vertical cluster for a
I want to dwell more on the hori- couple of times, a student usually is able
zontal elements students master at this to name the lowest or the highest pitch—
stage. for some the lower notes are clearer, for
Playing for a student pitches at first some — the upper.
in one octave and then in another is only Then I break this vertical combina-
the first part of the exercise. It is necessary tion of pitches, playing them in succes-
to also give pitches alternately—one pitch sion, a student already knowing the upper
in one octave, another pitch in another or the lower tone, identifies all the rest of
octave. the pitches, going up or down.
Though we at this stage have only This exercise is especially good in
two octaves, still the ear will have a small helping develop the sense of pitch row.
barrier of register to overcome, when the
leap from octave to octave occurs.
And also it broadens the choice of
pitches—within one octave a student
moves in some cases by the method of
exclusion—"it may be only this, it can't be
that"—because all the tones are so near
each other, and the location of each—top,
bottom or middle part of the octave—is so
clear, but as soon as we leap from one
octave to the other, it is absolutely a differ-
ent picture, some students lose the sense
of location—it is not so clear for them,
what is top, what is bottom or middle—
after D in the octave below middle C, F in
the octave above middle C may seem
something that is in the top part, because
it is so much higher than the previous
pitch.

17 Grow a Row Stage 2
Filling in the Gaps
T
he horizontal perception of the I offer the following exercise to help
pitches will continue to develop incorporate F# and to develop the percep-
further when you add "black" tion of the difference in colors of all white
pitches—one at a time, in the same two and black keys as groups. Play at first in
octaves above and below middle C. rapid tempo a C major scale upwards in
The first pitch you add will be F#. It one octave—above middle C, and then—
is the easiest of all the "black" pitches to immediately after the scale—play F#, and
take as the first—by pitch color it is one of hold it for a moment, then repeat the pro-
the brightest, its behavior is very peculiar,
cess several times—F# will stand out in
also it is in the middle of the octave—on
bold relief on the background of all
the background of all "white" pitches it
"white" pitches. Then repeat the exercise
sticks out in such bold relief! But still it is a
in the octave below middle C.
tremendous qualitative leap for the ear of
For all details concerning the sev-
many students to incorporate it.
enth and all other dimensions of pitch
The diatonical bliss of the C major
scale, which previously was so enjoyed by color of F# and all other "black" pitches—
many students with developed relative see Chapter 6, "Esthetics of Synesthetic."
pitch comes to an end—with the first black After F#, add one by one all other
key added it becomes much more difficult "black" pitches in order: Bb, then C#, then
to compare, though involuntarily, the Eb, the last will be Ab.
pitches. The addition of the first chromatic
element for some students may shake the Bb, after F# is incorporated, is con-
edifice of their developing perfect pitch sidered a very convenient, easy pitch, the
for some time. same is with Ab (many students say that
If such is the case, you should give Ab is the most pleasant, easiest tone to
the ear a couple of weeks to get accus- add), C# and Eb are the pitches that offer
tomed to the new chromatic element, to
resistance—though C# is considered "on
the loss of the ear's facile ability to com-
the bright side" by the vastest majority,
pare pitches within C major.
also students agree that it is not a pleasant
But for many students this note is
pitch, that it emanates certain negative
incorporated easily and painlessly, swiftly
energy that interferes with the perception
too—it seems to many too conspicuous by
its pitch color to be mixed up with any of of this pitch for some people; Eb is resis-
the "white" pitches. From the time you tant not only because of its negative
energy, but also because of the mellow-
take F# you begin real transition from the
ness of its pitch color (I would say—grey-
intermediate state of your ear, in between
ish mellowness), this mellowness added to
relative and perfect pitch, to real perfect
fill the gap in the area tightly packed with
pitch.
Grow a Row Stage 2, Filling in the Gaps 69

mellow and mellowish pitches—D, E, F This exercise I especially like to
are mellow or "on the mellow side," that is give to my students, because it combines
the reason that at the first stage, before the the contextuality of the pitch perception
behavior and specific aspect of the mel- with the autonomy of each pitch—it is not
lowness of each of these pitches are clear, a tonal melody, it is an atonal succession
before a person also starts to perceive by of pitches, actually a random succession of
ear always which key is white which is them, but the effect of "recoloring" of a
black, this pitch—Eb may be mixed up pitch on the background of what preceded
with D, or E, or even F. Or sometimes— it exists here too.
Sometimes, depending on the com-
with C#—for those who feel already the
bination of these four or five pitches, the
difference between black and white keys,
"volley" is more convenient for one's ear,
but for whom the behavior of these
and sometimes certain pitches, succeeding
pitches—Eb and C#—is not very clear yet, one another, create a very inconvenient
though the feeling of location is already context for the ear, as if the color of a pitch
approximately correct. after a certain pitch, on a certain back-
From the time the first "black" pitch ground, seems obscured or changed.
is added the tempo and character of your Volleys should include pitches in
development will become even more indi- both octaves—above and below middle C,
vidualized—for some, after having diffi- sometimes two pitches in one octave, and
culties with F#, all other "black" notes will two in the other, sometimes three in one
be added easily, for some—it will be easy octave, one or two in the other, sometimes
to incorporate F# and Bb, but then there going only upwards or downwards,
will be difficulties with C# and/or Eb, sometimes two sounds upwards, two
downwards, etc.
though Ab will be easy again; for some— I want to stress—the student
F# and Bb will be more difficult, then, should listen to the "volley" not more than
unexpectedly, C# or Eb will be easy, etc. 3-4 times, then answer. Some will need for
But at the end of your work with the "volley" to be played for them in slow
"black" pitches in these two octaves— tempo. Examples of volleys—see Appen-
everything smoothes up for everyone. dix II.
Generally, people perceive "black" pitches In full-size, one-part written dicta-
as more "colored,"—the pitch colors of tions (I compose them myself) I usually
"black" pitches seem more clear, more use only the pitches students currently
obvious than those of "white" pitches, so if study in the melody embracing the range
to speak of time spent on black keys—you of two octaves—above and below middle
will, in most cases, spend not more but C, at first only "white" pitches, utilizing
less time on "black" pitches, than on them in dictations in order of how they are
"white." added, then I gradually add into the melo-
Work at "black" pitches the same dies all the "black" pitches—in the order
way you worked at "white," doing the we add them, so only when the last
same exercises I described in the previous pitch—Ab—is added, I use in dictations all
chapter. twelve pitches.
I want here to dwell a little more on Together with tonal melodies from
"volleys" of pitches, or oral mini-dictations the beginning I give as dictations melodies
of 4-5 notes. that are not tied to tonality, further on dic-

tations are mainly atonal, though I also pitch perception—a person hears for
give densely chromaticized tonal melodies example C then G, but names E instead of
too (see examples of dictations in Appen- G, thus filling in mentally the triad, and
dix III). naming the imaginary pitch—the missing
When I dictate a melody, I never middle tone of a triad.
tell the students what is the key if the dic- Or one hears C then E, but names G
tation is tonal, and I never tell what is the instead of E, completing the triad, naming
first note of the atonal dictations—stu- the imaginary upper tone of it (reversing
dents must identify it themselves. the process, one hears G then E, names C
However, I always give students a instead of E, completing the triad with
tonic triad before I start to play a tonal dic- imaginary lower tone).
tation—for them to identify what is the When all the twelve pitches are rec-
key and to recognize pitches in this triad. ognized accurately by ear, the very impor-
And I ask my students—what is the first tant stage in the development of perfect
note (or notes in 2-3-4-part dictations ) if pitch is reached—you'll now have perfect
the dictation is atonal, they identify the pitch that is selective horizontally, tim-
first note (notes), then I start playing the brally and in the terms of range.
dictation. For some people to cope with these
Full-size dictations are more time- twelve pitches means to be for some time
consuming, so I recommend "volleys" for in the state of "dirty" perfect pitch—as the
home-practicing with a partner, and full- twelve-pitch row is densely packed, and
size dictations for classroom work, and for the feeling of pitch color is not yet fully
those who can spend more time practicing established.
at home. Some will experience for a time this
I also want to describe here certain instability of pitch perception which
difficulties, common for many students, expresses itself in half-tone slidings up
and connected with imaginary pitches: and down from the actual pitch and in
"overtone mirage." I mean by this term, unpredictability—what pitch will slide
the situation when the student mixes up today. It is connected with the phenome-
the pitch that was actually played with the non that at this stage pitch colors "come
one a perfect fifth apart from it; for exam- and go"—as some students express it, in
ple, hearing C, a student names G, or hear- time the perception of pitch colors stabi-
ing B names F#. Such tones—a fifth lizes, those who had "dirty" perfect pitch
apart—are in close kinship acoustically. acquire "clear" perfect pitch.
Some students even in the begin- But some students develop their
ning have a keen ear for overtones—in perfect pitch from the very beginning as
time the ear of such a student gets accus- "clear," exact one.
tomed to what is an overtone and what is How much time will this stage
the "real" pitch that was given, but at first, take? Many students will cope with black
and for some—even further on—some- pitches in 7-8, sometimes 10 weeks. For
times an overtone would sound more real some it will take less, for some, more.
for the ear than the actual pitch. Usually the majority of my stu-
Sometimes there is a difficulty dents are able to cope with all 12 pitches in
which I call "the filling in of a triad" or the range of 2 octaves in a 15-week semes-
"completing a triad." This phenomenon ter, for some, however, it takes longer.
once more confirms the contextuality of

You should continue to work with Add to your fifths and thirds those
intervals and chords by the 2 tracks I with "black" pitches—in order of the
described before—broken and unbroken. pitches taken. Add gradually sixths—
For those who develop their relative pitch major and minor, starting with "white"
together with perfect—learn the minor sixths, adding sixths with "black" pitches
major 7th chord, and the augmented 7th in order of the pitches taken. Remember at
chord after adding F# and Bb. (You will be this stage all triads and intervals are taken
able to build chords like the mM7th chord only in two octaves—above and below
middle C, but it is inevitable to touch
G-Bb-D-F# or the aug7th chord Bb-D-F#-
some pitches beyond this range—for
A).
example, if you build a triad on A, or a
When you add C#—learn the fully
sixth on Bb above middle C.
diminished 7th chord (like C#-E-G-Bb). For some, the most gifted students,
I remind you—in broken form, it is possible also to take fourths, but it is
work with any combinations possible rare; the majority of students will take
comprised of the pitches you currently fourths when the horizontal expansion of
have. their perfect pitch will take place, that is,
You should also add some chords for them it will be the next stage in the
and intervals to those that you study as development of their pitch ear.
purely vertical units, with its own pitch A reminder: there are students,
color (result of blending in our ear of those who are able to easily recognize pitches in
pitch colors that comprise this unit). truly vertical, unbroken, intervals and
After taking all "white" triads you chords, they can add as many vertical ele-
should add triads with "black" pitches, ments, as they wish to add, practically all
adding them at first a couple at a time: vertical combinations of the pitches they
1. Take F#. currently study.
2. After taking F#, add D major—B
minor triads.
3. After taking Bb—add Bb major—G
minor.
4. Take C#—add A major—F# minor.
5. Take Eb—add Eb major—C minor.
6. Then add F# major—D# minor
7. Then add one triad at a time,
though Ab—the last pitch—will be
added earlier than all the triads
with Eb are taken.
8. Add E major, then C# minor, Ab
major, F minor, B major, G# minor,
Db major, Bb minor (some students
would prefer to take first Db major,
Bb minor and then B major, G#
minor).

18 Grow a Row Stage 3,
or Territorial Expansion
A
fter the twelve pitches in the two It may be, however, advisable for
octaves—above and below mid- some students to "translate" mentally the
dle C—are mastered the way I pitches given in the inconvenient register
described in the previous chapter, it is (octave) to the register (octave) they are
time to expand your perfect pitch in the comfortable in. Sometimes, when the ear
terms of range by adding another octave. is only getting accustomed to the sound of
Usually my students add the sec- the lowest register, I play a student a pitch
ond octave above middle C as the next, in the lowest octave, and then immedi-
then the second octave below middle C, ately in the octave with which the student
then the octave upper but one, then the is very well acquainted—above middle C,
lowest octave, then the upper octave, then for example.
the lowest three notes—A, Bb, B. I also allow to use vocal chords to
For some students this order may "translate" such a pitch.
be reversed: at first the second octave For some students all this still may
below middle C, then the second octave be difficult—"muddiness" of those tones
above middle C, etc.—for those students interferes with the correct perception of
who feel that the lower octaves are more the pitch.
comfortable than the upper. For a person it may seem that the
Generally the upper register, the pitch sounds a certain way, he or she men-
upper octaves are clearer for students than tally or aloud sings it two or three octaves
the lowest octave, because the lower regis- higher, but what he or she sings, and con-
ter presents for many certain difficulties— sequently, identifies—is not the real
"sounds muddy"—students say. Usually it pitch—it is a half or a whole-step higher or
is possible to add octaves not by single lower than the actual tone, "muddiness" of
pitches, as before, but at first—taking all the lowest octave being the cause of this.
"white" pitches in this octave, then all At first one should learn simply to
"black," that is, adding pitches by big perceive correctly a tone and to sing it in a
groups. convenient octave without even naming a
Later on, when one comes to the pitch, as soon as it is clear that a person
last octaves—it is possible for the vastest perceives these low tones always cor-
majority to add an octave at a time instead rectly, sings them correctly, he or she
of a pitch at a time! This is the stage when should start to identify pitches in the low-
pitch colors begin to settle in a quite stable est octave.
way in one's ear and memory, the changes Work with pitches, doing all the
in tints of color of one and the same pitch exercises, described in the previous chap-
when the register and the octave change ter.
are usually perceived very well by every- Especially important at this stage is
one and don't present a hindrance. the work at identifying random pitches.
Grow a Row Stage 3, or Territorial Expansion 73

I usually give my students at first examples of such "volleys" in Appendix
all the pitches in each octave in the range a II).
student currently has—for example four It is also possible to start two-part,
or five octaves going from octave to octave full-size dictations—at first of a simpler
in the sequence of them—upwards or type, then more complex, not very
downwards, or starting above middle C, expanded in the terms of range—embrac-
going then upwards and downwards, and ing the range of not more than three
then I give random pitches, leaping from octaves (see dictation examples in Appen-
octave to octave, if the range is big dix III).
enough, such leaps can be gigantic. At the same time, exercises on
By this time students should developing aural recall should start.
roughly be able to identify pitches this Already preliminary exercises on
way—for some it is quite easy, but for developing auditory imagination were
some it is difficult because of the necessity introduced in the previous chapters. Now
to overcome the barrier of register. Espe- it is time to start more complex exercises
cially difficult are contextual situations of this kind.
with the sevenths or ninths on a big dis- Try to imagine separate pitches,
tance of several octaves, and tritones on a then check yourself on the piano, imagine
distance. pitches only in the most convenient octave
The "trill technique" I described for you, for example, in the first octave
before should be obligatory mastered at below middle C. Then try to imagine how
this stage. a certain pitch (or pitches) sounds in
It is interesting that at this stage, another octave, for example, in the first
usually, in all the students relative pitch is octave above middle C.
developed parallel with pitch ear to such In the beginning it will be difficult,
an extent that even those who came with- so at first try to imagine the pitch in the
out any previous background in ear-train- octave that is convenient for you, and then
ing begin to easily and involuntarily transfer the pitch mentally an octave (two
recognize intervals between pitches; and it octaves) higher (lower), check the pitch
is a mighty support for the ear in its strug- with the piano, trying to perceive and to
gle with register barrier—thus perfect memorize the tint of pitch color of this
pitch and relative pitch interact, develop- pitch in another octave.
ing parallel, helping each other. Then, gradually, you'll be able to
In developing perfect pitch the aim do it without transfer—you'll be able just
justifies the means—I always remind my to imagine the pitch exactly in the octave
students not to try to suppress the relative you wish. For those who compose music it
function of their ear—it helps avoid mis- is especially important—to internalize
takes. In time the barrier of the register is their perfect pitch—to be able to imagine
overcome successfully by everyone. on as high a level as it is possible.
But it is necessary to practice at After being able to imagine sepa-
home "random" pitches with a partner. It rate pitches, it is time to start imagining
is necessary to make "volleys" of sounds pitch units—intervals and triads—at first
longer and more complex—expand the breaking them mentally, and doing it in
range of a "volley," giving 8-10 sounds, the convenient octave, then breaking
that embrace the range of several them, but imagining them in any octave,
octaves—three, then four, five, etc. (see then doing it in any octave without break-

ing the units, being able to imagine the And of course, your "first track"—broken
interval or triad as a unit. units—should now expand into all
Now start mentally following the octaves and registers you master—you
score, imaging how pitches sound in a can work with any broken combinations
convenient octave, separate parts, then of pitches even in the upper or lowest
parts united together, then to imagine octaves.
pitches in the actual octaves they are writ- How much time this stage will
ten, separate parts, then parts united take?
together. It is highly individual—from 1-2
Vertical expansion also continues, semesters for the most gifted to much
to your "second track"—unbroken units— more for those who encounter difficulties
add fourths, add dissonant intervals—at and problems in the development of their
first sevenths, then seconds, and then tri- pitch recognition and recall.
tones. Add them in this way—at first
"white," then with "black" pitches.
As a rule, if to speak of the percep-
tion of vertical units, consonances are eas-
ier for the majority of students than
dissonances, and larger intervals in both
groups are easier (with the exception of
thirds) than smaller—fifths and sixths are
easier than fourths, sevenths are easier
than seconds, tritones are the most diffi-
cult intervals for the vastest majority as
acoustically the notes that comprise this
interval are very, very far from each other,
and besides, it is not for nothing that this
interval was nicknamed in the middle
ages—"diabolical interval"—it exudes cer-
tain negative energy.
Work at the intervals as described
in the previous chapter, without as yet
expanding the range in which the inter-
vals are given, that is, work at them only
in two octaves—above and below middle
C.
Also add inversions of major and
minor triads—at first "white," then with
"black" pitches, one or two at a time, also
only within the two octave range.
Sometimes it is possible to add
dominant 7th chords with inversions, but
mainly dominant 7th chords and other 7th
chords, as well as diminished and aug-
mented triads as unbroken units belong to
the next stage.

19 Grow a Row Stage 4
Putting on Layers
T
his stage in your development begin, as a result of greater clarity of pitch
should begin when you have mas- colors.
tered all the pitches in all the I again remind you—take at first
octaves horizontally, and when you are only four pitches—C, E, G, B, in this
able to recognize them with increasing octave, then—all other "white" pitches—
accuracy and speed; not only when they A, D, F, then add all "black" pitches—at
are given within one octave, then within first F# and Bb, then—all the rest—C#, Eb,
another, then within the third, etc., but
Ab, as before.
also when they are given randomly, leap-
At this stage I also start to give stu-
ing from octave to octave, the leaps being
dents pitches staccato and softly or even
any size, as big as seven octaves, for exam-
very softly, that is, instead of "full" color—
ple; when you are able to recognize
when the pitch sounds loud enough and
pitches in certain unbroken vertical ele-
long enough for student(s) to get the full
ments—in intervals and some chords—
impression of how this pitch "behaves"—I
major and minor triads, their inversions,
give only partial color; at this stage it is
in dominant 7th chords with inversions;
possible for many students to hear this
and when you start doing aural recall
pitch staccato and identify it by only a par-
exercises, and are able to imagine pitches
ticle of color that remains when we play
at least in an octave convenient for you.
the pitch this way.
Now it is time to put on layers.
It is necessary to also give oral
I described the method of putting
mini-dictations—"volleys" in this octave,
on layers in the Chapter 12, "Memory
and full-sized dictations, and to give inter-
Fusion—Problems and Solution." The
vals and chords by both "tracks" in this
octave you start your second layer with is
octave, using in them the pitches, that are
the one that will bring about an absolutely
currently studied. This will help your ver-
different level of mastery over pitches—
tical perfect pitch ascend to a higher level,
you'll begin to perceive differently pitch
towards this time your general level of
colors.
perfect pitch will be such as for you not to
Students usually tell me that in this
have the need to study a family of chords
octave of the second layer pitch colors
for your second—purely vertical—"track"
seem to them much clearer, much more
the way at first you studied fifths, or
obvious than before, as if they reached a
thirds, or sixths.
certain greater depth, or ascended to a
There will be no need, for example,
greater height in this aspect.
to start studying the family of minor-
With this octave of the second
minor 7th chords, or half-diminished 7th
layer, another, higher level of commitment
chords—you'll be able to answer the
of pitches to long-term memory will
pitches in such a unit from the level of the
different way of pitch perception—clearer,
Grow a Row Stage 4, Putting on Layers 76

deeper perception, and memory fusion By this time "volleys" and full-size
towards this time will be much more sta- dictations should become more complex.
ble. I introduce two-part and four-part
However, there are students who dictations of ever-increasing complexity,
would like even at this stage to work at then add three-part dictations of the most
vertical units the way they worked complex polyphonic type, dictations tonal
before—taking at first, for example, all and atonal, tonal dictations with dense
"white" minor-minor 7th chords, then chromaticism, sudden modulations, etc.
adding gradually those with "black" (see examples of dictations in Appendix
pitches—till all 7th chords of this kind are III).
taken; and in the same way work at the The reason I introduce three-part
inversions, at all the other 7th chords: dictations later than four-part dictations is
• major-major in the fact that in four-part dictations the
• minor-major voice-leading is governed by the estab-
• half-diminished lished rules of harmony—it is easy to fill
• fully diminished in the middle voices as soon as you have
• augmented-major and their inver- the bass and soprano, and know the rules
sions. of harmony; but in three-part dictations
I want to emphasize, that for some voice-leading is free, which makes it more
reason diminished and augmented triads difficult to follow the middle voice.
are difficult for the majority of students, Chords that I give students at this
that is why I usually introduce them at stage are not only in narrow arrangement
this stage. Of course, the work at triads of in one octave, but mainly in four-part
all kinds with inversions, at 7th chords of arrangement, open and close, that may
all kinds with inversions shouldn't be lim- embrace two to two-and-one-half octaves.
ited only to the octave with which you Students answer at first what is the
start your second layer—all the intervals, chord, for example, major-major six-five,
triads and 7th chords you can answer ver- or half-diminished four-three, then—what
tically should be given as before—mainly note of the chord is at the top—root, third,
in two octaves—below and above middle fifth, or seventh, then the pitches it com-
C. prises: major-major six-five, root at the
In the octave of the second layer it
top, D-A (octave below middle C) F-Bb
is necessary to give all kinds of chords for
(octave above middle C), if to gather them
the first "broken" track: chords of non-ter-
tial structure, clusters, etc. Vertical ele- in narrow arrangement—D-F-A-Bb.
ments for many may be resistant to such There was a time in my life when I
an extent, as for such people to stop in the undertook to classify and name all exist-
development of their vertical perfect pitch ing chords of non-traditional structure. I
at a certain stage, and therefore, to be able usually introduce those chords one by one
to identify pitches at other, more complex to my students, they first learn chords,
pitch units only when they are broken to that is, to discern the generic color of a
separate pitches. chord, then they learn to identify pitches
Some would persistently go for- in them.
ward with the goal to achieve higher lev- This way an all-rounded, versatile
els of verticalization of their perfect pitch. ear is being developed, not only pitch ear.

These chords will be described in my next One more week—and you will add
book In the Vertical Realm. these most familiar octaves and will have
At this stage I usually give my stu- full range of piano as a second layer, till
dents not only separate intervals and the end of the semester you should work
chords, but progressions of intervals— with the full range.
sometimes tonal but mainly, atonal: 4-5-6 But in some cases it will take more
intervals in a row, for students to answer time—a semester, to embrace all the
orally after listening to it two or three octaves of the 2nd layer, adding them one
times—at first what are the intervals, by one.
then—what are the pitches in each inter- With putting on the second layer,
val. you will reach an absolutely different level
Chords at this stage should also be of memory fusion—some will have such
given not only separately, but in progres- stability of their pitch ear, as not to need
sions, tonal and atonal, for students to another layer, some will need the third
answer at first what are the chords, what layer, so the procedure will be repeated
tone of the chord is at the top, then—to once more, or as many times, as it is
answer pitches, in tonal progressions— needed by the student.
what are the functions of the chords in the I want to remind the teacher that
key. with the expansion of the second layer
Remember to work at progressions you should continue to give all chords and
of intervals and chords by two "tracks." intervals in each added octave the way
For some students it will be necessary to you did with the very first octave of this
break every chord or every interval in a layer.
progression. For the majority of those who wish
These exercises on intervals and to reach higher levels in verticalization of
chords, separate and in progressions of their perfect pitch, there will be endless
intervals and chords of traditional and possibilities to expand your vertical per-
non-traditional structure, in progressions fect pitch further and further till you are
tonal and atonal develop not only vertical able to name pitches in practically any
pitch ear, they develop simultaneously vertical combination—consonant or disso-
relative functions of the ear, bringing forth nant. However, for some, there may be
that virtuosic versatile ear that is the limitations in this area.
dream and the necessity of each musician. After putting on the amount of lay-
The exercises on progressions of ers that is needed to reach the level of sta-
chords or intervals also develop musical bility in recognizing pitches in all octaves,
memory. and to be able to recognize pitches in any
Aural recall should be continued at vertical combinations and to recall all
this stage—proceeding from recall of the pitches from memory—you will have per-
pitches in the convenient octave to being fect pitch that is only timbrally selective.
able to recall pitches in any octave. How much time will it take to reach
Usually octaves are added to the such a level?
second layer in very fast tempo—in 3-4 All this seems a formidable task,
weeks you will embrace five octaves of the you would ask.
piano, only the two octaves that you mas- The answer is—at this stage all is so
tered at the very beginning—above and individualized, especially the tempo of
below middle C—will not be added. your development—there are people who,

reaching the stage of putting on layers,
move forward especially fast, and there
are some who will experience certain diffi-
culties that will slow down the progress.
For some, it is verticalization of their per-
fect pitch, for some, it is aural recall, etc.
Your ultimate result will, however,
depend not on the tempo of your
progress, but on your perseverance and
desire to reach still a higher level.

20 Vertical Units—
A Stumbling Block or a Nasty Little Trick?
W
hen a student starts to work at You should treat each interval or
vertical units he or she encoun- chord as a pitch unit, that is, as something
ters the problem that, in my whole, with its own peculiar pitch color
opinion, is one of the main obstacles in the which is a result of the interblending of
way of developing pitch ear—verticaliza- two or more pitch colors in this unit, not a
tion of perfect pitch is the most difficult mere combination, a mere putting
thing to achieve. together of two or more pitch colors, that
There are students, for whom it is can easily be put asunder.
easy to verticalize their perfect pitch, who You should gradually condition
from the start can recognize pitches in your ear to perceive this color of an unbro-
unbroken intervals and chords and who ken vertical unit. For many it is truly a for-
sometimes tell me that it is even easier for midable task, many students are able to
them to recognize pitches in the vertical answer the pitches in the chord or interval
units than separate ("horizontal") pitches. only when it is broken into separate
But, alas, this does not happen pitches, and the ear of such students may
often. offer great resistance on the way to verti-
The majority of students who excel- calization of their perception of pitches in
lently recognize pitches in all kinds of hor- intervals and chords.
izontal successions of tones, experience The first step is to analyze pitch
difficulties with vertical units. To answer color of each unit in the group you cur-
pitches in intervals and chords truly verti- rently study, for example, the first of all
cally—that is, when the tones of a chord or vertical elements that my students usually
an interval are taken together, is difficult work at is the group of triads—major and
even for many people with inborn perfect minor.
pitch: we already spoke of inborn perfect Each of the triads has its own indi-
pitch being horizontally selective or verti- viduality, its own pitch color, the way
cally selective, that is, a person with such each separate pitch has its color, its own
perfect pitch is able to discern only sepa- behavior.
rate pitches, or pitches only in certain sim- We already spoke about how the
pler chords, and in intervals. pitches that go opposite directions—for
Still it is possible to achieve the goal example C—down, A—up—counterbal-
of verticalization of perfect pitch if you ance each other. So the direction of a triad
work persistently at intervals and chords will be determined by:
as vertical units, that is, if you take all 1. The presence of two pitches in a
intervals and all chords of traditional (ter- triad that go one and the same
tial) structure in a system, one group after direction—up or down (for exam-
the other, gradually adding to what ple, F major triad has two pitches
you've already taken. that go down—F and C, and one
Vertical Units—A Stumbling Block or a Nasty Little Trick? 80

that goes up—A, F and A counter- • F major—robust, strong, cheer-
balance each other, but the triad ful, a bit blunt, not very bright
will go down, as there is also the • F# major—on the bright side,
third pitch, C, that goes down. but the tint of it is not entirely
2. The presence of pitches that stay or pure (some of my students
move on one plane; if there are two describe this triad as murky)
pitches in a triad that are on one • G major—bright, beautiful,
plane and one that goes either up gleeful, full of light
or down, the triad will give an
• Ab major—elegant, tender, cool,
impression of going up or down—
on the mellow side
for example C-E-G produces an
• A major—very bright, warm,
impression of being a heavy triad,
sparkling, spiritual
because C pulls it down.
G-B-D produces an impression of • Bb major—noble, warm, sweet
going up, because B lifts it up, also • B major—very bright, but
it as if moves at the same time for- unpleasantly so, with some-
ward, as both G and D are forward- thing too glaring in this bright-
moving pitches, especially this for- ness
ward-moving effect is pronounced • C minor—nobly mournful
in G-Bb-D, as Bb goes up at an • C# minor—dark, but not mel-
angle, adding to the moving-for- low, wrathful, desperate,
ward effect. mournful—one of the darkest
3. The presence of the pitches that go triads
in three different directions, one— • D minor—very sad but with
up, another—down, the third—on inner restraint
one plane, for example Ab-C-Eb, the • Eb minor—subdued, dark
triad will produce an impression of metallic grey, the key of resig-
nation and indifference born of
being on one plane, because Ab and
despair
C counterbalance each other, Eb is • E minor—bright color, light too.
on one plane. Among minor triads E minor,
together with A, B, and F#
If to speak of other dimensions of
minor—is one of the brightest,
pitch color, for me for example—
there is even something cheerful
• C major is festive, majestic, on
in it (some students without
the bright side
ear-training background at first
• Db major—mellow, subdued, may call it a major triad)
with some sadness in it, a • F minor—soft, cool, on the mel-
hushed nocturnal key low side, triad of sadness and
• D major—bright, majestic deep melancholy and thought-
• Eb major—mellow, with a fulness
metallic greyish tint, cool • F# minor—very bright, brash,
• E major—bright with some- glaring, a bit impudent
thing disquiet, alarming, too
intense in it

• G minor—elegiac triad, tender, mine its energy for you, being "stronger"
melancholy, soft, there is light than other in your perception.
and elegance in it For example, A major is perceived
• G# minor—a tragic key, very by some people as energetically positive,
dark, cold, subdued, the key of by some—as negative, depending what
hopelessness pitch—A or C# seems to a person stron-
• A minor—bright, noble, there is ger, more dominating in this blending.
something neutral about it—as If to speak about the "aura" of each
if no sadness in it, characteristic triad—we notice that some of them are
of other minor triads, and like E comprised of pitches that are in harmony
minor, it is often called "major" with each other if to speak of aura—for
by students—beginners example, in C-E-G, C is Earth aura, E, G
• Bb minor—the key of deepest are Water aura—perfect harmony.
melancholy, mournful, on the D-F#-A, D is Air aura, F# and A are
mellow side, subdued by tint Fire aura—perfect harmony.
• B minor—very bright, openly But there are triads which are com-
tragic, the triad of wrath, of prised of pitches with conflicting, dishar-
strong, dark emotions. monious auras.
That same A-C#-E—A is Fire aura,
There is a lot of what is subjective and E is Water aura in this combination.
in our perception of resultative color of This inner disharmony influences in a cer-
vertical units—depending on what pitch tain subtle way our perception of such tri-
color dominates for you in the blending of ads, causing more individualized
colors—not always it is the root of the reactions to them, and adding more often
triad, sometimes it is the fifth, or even the than not certain negative tinges to the way
third of the triad, that will tinge the whole we perceive them.
triad for you in more bright or mellow For many students the color of each
tones, or will make it cool or warm, etc. major and minor triad is even clearer than
If to speak of the energy that is that of separate pitches. But for many—at
characteristic of each triad, the unit that first it is necessary to break the triad into
has two out of three pitches energetically separate pitches for them to answer.
positive, one neutral or negative—will Gradually even those students
remain energetically positive, a unit with begin to perceive triads vertically—in time
two pitches energetically negative, one the color of each triad settles in the mem-
neutral or positive—will remain energeti- ory the way the color of each pitch does.
cally negative. I described in previous chapters
It is more complicated when one how to add triads—starting with all
pitch is energetically positive, another— "white," then adding several "pairs" of tri-
negative and the third—neutral. ads—a pair—relative major and minor,
In principle two energetically then adding them one by one—following
opposite pitches will counterbalance each the order of pitches added.
other, and the triad will be energetically But if triads were the only vertical
neutral. But in our perception one pitch element! What a blissfully easy life that
will always dominate the unit and deter- would be!

But after the triads are mastered, Parallel with dissonant intervals it
the same time-consuming work should be is possible to give students inversions of
done with all other vertical units, with so triads—six-threes and six-fours, and dom-
many of them: that is the reason that many inant 7th chords with inversions.
students lag behind in the development of Then—it will depend on the indi-
their vertical perfect pitch. vidual way of development of each stu-
Of course, the general level of dent—some of them towards this stage
development of pitch ear matters will show spontaneous development of
greatly—the higher a level of horizontal vertical pitch ear and will begin easily to
perfect pitch a person acquires, the easier perceive and effortlessly to keep in mem-
it is in principle to cope with vertical units. ory all vertical units they study, and gen-
Some of the students develop the erally will begin to recognize pitches in
ability to discern separate pitch colors in any vertical unit.
the intervals and chords, but not always But for some it will remain a grad-
both (or all) notes, most often just one, all ual process of quantitative accumulation
the rest they figure out relatively. of pitch units in their pitch memory, and
Such students often tell me, that therefore, certain limitations are inevitable
especially clear for them are the bright for such students.
pitches on the background of mellow(er) At this next stage I give my stu-
ones, some put easily asunder in their dents all other 7th chords:
mind any vertical unit, no matter whether • major-major
it is comprised of bright or mellow • minor-minor
pitches, some just easily remember pitch • half-diminished
color of intervals and chords as units. • fully diminished
But for the majority of students • minor-major
their ability to excellently identify sepa- • major-augmented and their inver-
rate pitches helps only to cope with "bro- sions
ken" vertical units. Then I add chords of non-tertial structure.
To be able to identify pitches in
unbroken units one should study and A reminder—it is necessary to
commit to long-term memory the pitch work at separate units at the first stage,
colors of all those units—it is gigantic and at units, connected in progressions—
work, though definitely if one could com- tonal and atonal—and later on, to write
mit to long-term memory the colors of all two, four, and then three-part tonal and
horizontal pitches and of all triads, it is atonal dictations at later stages.
possible to do so with all other pitch units, Difficulties in verticalization of
and the more accuracy and stability one pitch ear are the reason of the difficulties
shows in answering separate pitches, the in developing universal perfect pitch.
more accuracy it is possible to achieve Read the chapter "Universal or Selec-
with vertical units. tive"—though the majority of instruments
As you know from previous chap- other than the piano (with the exception of
ters, next I give my students fifths, then— the organ and harpsichord) can't give such
thirds, then—sixths, and the last conso- a variety of vertical combinations, those
nant interval—fourths. instruments on which it is possible to play
Then I give dissonant intervals— vertical units—intervals or even chords—
sevenths, then—seconds, then—tritones. can be resistant to a certain ear in this

aspect, and of course, the orchestra, listening to music played by an orchestra,
instrumental ensembles, and chorus pro- chorus, or ensembles as well as by sepa-
duce all kinds of vertical combinations. rate instruments in recordings, stopping
For some it may be very difficult to every time the listening and checking
master, though definitely not impossible, yourself on the piano when you hear a cer-
if one is ready to work at it. tain chord, for example, and then—resum-
The main difficulty here is that, lis- ing listening.
tening to "live" music, it is impossible to But in general, treat all the difficul-
stop it at the right moment—to "break" the ties you encounter while working at verti-
unit, if the pitches weren't recognized in cal units not as a stumbling block, but as a
that unit. nasty little trick that pitches play on you—
I have noticed an interesting phe- and repay in kind!
nomenon—if in the classroom I begin to Overcome the difficulties, also
ask a student questions about the separate using cunning tricks—helping yourself
pitches he or she listens to—"Where does using your relative pitch, for example, in
the pitch go? Was it a white or black key? those cases when one of the pitches—usu-
Was it a bright or mellow pitch?"—this ally upper or, rarer, lower, is clear in a cer-
talk about the pitch, this analysis of the tain chord, you may figure out all the
pitch usually brings about an absolutely other pitches relatively; analyzing aloud
correct identification of this pitch, as if in the classroom the perception of those
when one begins to analyze his or her per- units you hear; using jolly games to mas-
ception aloud, it helps to gather together ter vertical units—the "cat and dog" game
disconnected, or connected in an unstable I described earlier and other games of this
way components of pitch perception. type—to emphasize the most resistant
The same is with vertical units—it units.
helps to analyze them the way I described, I usually give students at the les-
when working at them with the student: sons unbroken intervals and chords in
• Does the interval sound as if com- groups—at first all triads, then all fifths,
prised of two bright or two mellow then all thirds—at first all major, then—all
pitches? minor or vice versa, etc.
• Or maybe one pitch in it is bright, When a student listens to several
another mellow? fifths or sixths in succession all pitch col-
• Does the interval go up or down? ors seem more obvious—on the back-
• Do both pitches go down (or up) or ground of other pitch colors of the
does one go down (up), another intervals of the same kind.
stays on one plane? A more advanced stage is to give
• Does it stay or move on one plane? students "mixed" intervals and chords—it
• Does is move forward? requires greater penetration into the
sphere of pitch color of each vertical unit
Such questions direct the student's and a higher level of committing them to
perception the right way. But the goal is to long-term memory.
be able to identify pitches—in horizontal The next stage will be progressions
or in vertical units—in "live" music. of intervals and chords, where contextual
This is a task of immense magni- "recoloring," which is inevitable even
tude and difficulty, though by all means when "mixed" units are separate, assumes
not impossible, if to persistently work at a much more drastic form.

I want to again emphasize: To ver-
ticalize your perfect pitch if you are truly
committed to the task, you will need only
time, going from stage to stage, ascending
higher and higher on your way.

21 For People with Inborn Perfect Pitch
O
ften students come to my class, tions and, what pitch will slide today is
already having a certain kind of unpredictable.
selective perfect pitch—most Eventually, even such a resistant,
often, "dirty" perfect pitch, which is also unstable ear is stabilized by the same set
sometimes selective in terms of range— of exercises I give to those students who
only in middle octaves, and most often start the second layer (see chapters "Grow
timbrally selective—a person is able to a Row, Putting on Layers" and "Memory
discern pitches only on the piano, or on Fusion—Problems and Solution")—giv-
the instrument he or she plays, and ing random pitches in all octaves, espe-
often—horizontally selective or vertically cially emphasizing the octaves that are the
selective. most unstable (usually the upper and low-
My task in such cases is to "fix" this est register), giving all kinds of vertical
instability which is the characteristic trait elements to those whose perfect pitch has
of "dirty" perfect pitch. no vertical limitations, and giving vertical
Sometimes it does not take much elements, adding them in the usual order I
time to introduce the concept of pitch described in the previous chapters for
color to students, who already possess a those whose perfect pitch is limited verti-
marvelous sense of pitch location. cally.
As soon as the sense of pitch color In some cases there are range limi-
is added as a much clearer component to tations—then it is necessary at first to
the excellent sense of pitch location (some expand the perfect pitch of such students
sense of pitch color that is switched on in terms of range, adding those octaves in
together with the sense of pitch location which such students can't recognize
such students already possess, otherwise pitches the way they are added for those
they wouldn't have even such, unstable who come to perfect pitch class, without
kind of perfect pitch)—these students being able to tell C from E even in the first
begin to recognize pitches always in a sta- octave above middle C, and then to pro-
ble way—acquiring stable, "clear" perfect ceed the way I described in previous chap-
pitch. ters.
But sometimes to fix "dirty" perfect Such students, of course, develop
pitch may take more time—the inertia, the much easier and swifter, than students
habit to perceive the pitch location first who came without any pitch recognition.
and foremost, and the habit to answer The tasks for them should be much
instantaneously, without analyzing their more challenging and they are able usu-
perception may lead to persistent slidings ally, to write much more complex dicta-
of a half-step down or up from the actual tions, so I give them most often the kind
pitch—among so many correct recogni- that is more difficult for them—it is a four-
For People with Inborn Perfect Pitch 86

part dictation with obvious verticality of
the texture.
For any kind of inborn perfect
pitch, but especially so for horizontally
and/or vertically selective, it is very con-
venient if the texture of the dictation is
polyphonic—in such texture all pitches of
several parts stand more or less in bold
relief.
But as soon as the texture is such
that a vertical element is heard every
moment—it is a challenging task for such
students to write everything correctly,
especially chords, where there are dou-
bled notes.
I give such students more complex
"volleys" of pitches, more complex pro-
gressions of chords and intervals, such
students, as a rule, quickly learn all the
chords of the non-traditional (non-tertial)
structure I introduce in my class, and it is
possible to give them also multi-toned
vertical clusters in quite a big range, with-
out breaking them.
Aural recall is not a problem for
such students, even if there are at first
range limitations. Usually, after some
training, they easily imagine any pitch in
any octave, and are able to follow a score,
imagining exactly every pitch.
If there are several such students in
a class, it is possible to give them the task
of singing Bach's Inventions—two and
three-part, then the fugues from the
"Wohltemperierte Klavier," then fugues
by Reger, Hindemith, and any other kind
of complex polyphonic pieces—in two,
three, four, etc., voices, for them to start
without being given an orientation point.
Those students who wish to
develop universal perfect pitch already
having a timbrally selective one, should
proceed as it is described in the chapter
"Selective or Universal," usually for them
it is a comparatively easy and swift pro-
cess.
For People with Inborn Perfect Pitch 87

22 Selective or Universal
S
o after mastering the pitches on the tain timbre, another time this timbre will
piano in the range of more than obscure pitches for this same person.
seven octaves you acquired perfect For such people timbral "walls"—
pitch that is selective only timbrally (for imaginary walls, actually, are fragile
those who mastered all the piano range enough to later on stabilize the universal-
but the lowest one and a quarter octaves, it ity of their pitch perception and to begin
is also selective in terms of range), or per- to recognize pitches accurately on all
fect pitch that is timbrally and vertically instruments and voices.
selective (if you had difficulties in master- Often such people play an instru-
ing more complex vertical elements). ment other than piano, and parallel with
Is it possible to develop perfect developing perfect pitch on the piano they
pitch to such an extent as to acquire uni- develop it on the instrument they play, let
versal perfect pitch—to be able to recog- us say, on the oboe.
nize pitches on any instrument, voice, Students often tell me that on their
from the orchestra, chorus, and not only own instrument it is even easier for them
horizontally, but in all vertical combina- to recognize pitches than on the piano—
tions too? the range is smaller, the timbre is familiar,
Yes, it is possible to develop uni- no vertical combinations, or they are not
versal perfect pitch. so numerous—depending on the instru-
Some people show spontaneous ment.
development of their universal perfect This is already one of the very
pitch while developing their perfect pitch important steps in acquiring universal
on the piano—towards the last stages of perfect pitch—to master two timbres,
the work on the piano they begin to spon- instead of one, at one and the same time.
taneously give recognition of pitches on So in principle, it should be abso-
other instruments on the same level of lutely possible for everyone to develop
exactitude as on the piano they work with. universal pitch perception—if one could
More often one meets people with master one timbre or two timbers, if one
spontaneous "breakthroughs" in the realm wishes, who can prevent this person from
of universal perfect pitch. Such people, mastering other timbres the same way
during the development of their perfect they mastered the piano or the piano and
pitch on the piano, from time to time rec- oboe?
ognize pitches either from other instru- But one should always keep in
ments, or from voices, or even from car mind—there are people for whom the tim-
horns—but these recognitions are not sta- bral wall is truly a stone wall, to overcome
ble, they are not systematic: one time this it is a difficult and time-consuming task—
person might recognize the pitch in a cer- for such people each timbre so heavily
envelops the pitches, that this timbral bar-
Selective or Universal 88
rier may seem to them almost insur- seems limited in comparison with the
mountable if to speak of the necessity to piano.
master many timbres—all bowed strings, Work at pitches on wind instru-
all woodwinds, all brass instruments, all ments taking them not by octaves, as on
percussions with definite pitches, harp, the piano, but by registers—for example,
organ, all voices—female and male. the oboe—lower register—from Bb below
To be realistic, would such a person middle C to G above middle C, middle
want to spend so much time and effort on register—from G above middle C to G in
this truly gigantic task? the second octave above middle C, and the
There are timbres more or less con- upper register—from G in the second
venient—some of them may offer more octave above middle C to the end of the
resistance than others even for people oboe's range.
with prerequisites for developing univer- Each register on wind instruments
sal perfect pitch. It is three times so for has its own timbral peculiarities which
people with a high timbral barrier. can be easily recognized even by an
This phenomenon—a high timbral untrained ear within the general timbre of
barrier—is the reason why there are so the instrument.
many people with inborn selective perfect On bowed strings it is necessary to
pitch—who can excellently all their lives master the pitches not only when they are
identify pitches on one instrument, never played arco—that is, with the bow, but
being able to do so on other instruments— when they are played pizzicato—that is,
the timbre of other instruments com- when the strings are plucked, and col
pletely obscures other components of legno—when the pitches are produced by
pitch perception for them. the wooden part of the bow, or when har-
So, if you are one of such people— monics are produced.
with a timbral barrier that seems difficult What seems to be a difficulty for so
to overcome—you should be prepared to many in these instruments with compara-
cope with the formidable task if you want tively small range is that the notion of
to develop universal perfect pitch—to upper and lower register doesn't coincide
master each timbre, each pitch in each in many cases with actual upper and
octave in each existing timbre. lower register of pitches in the whole
If you want to do it, if you are range which the human ear can perceive:
ready to do it—then go ahead! the range that the piano embraces.
You already know how to work So here, not only the timbre of the
with pitches, developing perfect pitch on instrument in general terms obscures the
the piano. pitch color and other components of pitch
The same way work with other tim- perception—different degree of tension,
bres, with the help of partners—friends with which this note is played if it is in the
who play those instruments, with the help upper, for example, register of a certain
of tapes and listening to recordings and instrument adds to this phenomenon—of
music on the radio or television. the pitch being obscured.
Some (e.g., bowed strings) will give For example, it is a great differ-
you vertical elements—intervals and ence—A in the second octave above mid-
chords—try to master them the way you dle C, played on the piano, or played by
mastered vertical units on the piano, the the flute, or played on the cello—for the
amount of such units on bowed strings cello it will be upper register—the pitch
will have the specific great tension of an "behavior" even more pronounced on
upper note. winds, than on the piano.
Of course, the ear in time can get All bowed string instruments
conditioned to perceive all these peculiari- would give you the impression that every-
ties of the timbre and register of different thing is brighter in comparison with
instruments—simply it will take time, and piano.
it is not always easy to organize regular But the brightness of B or A for
daily sessions with people who play these example, will still be greater than that of D
instruments. or E or Eb; that is, in comparison, still what
With voices the difficulty is in the is brighter, what is mellower will remain;
fact that timbre of them is always highly
still D, Eb, E, F would seem on the violin
individualized—there is no such thing as
"general" timbre of, let us say, a soprano, mellower than F#, G, G#, A, Bb, B.
like it is with piano or violin or clarinet or Of course, the direction—up or
trumpet. Each person who sings has his or down, or aside, or forward—will remain,
her own timbre of the voice—soprano or even during vibrato.
bass is much more the range than timbre. Everything will seem mellower on
So the ear should get conditioned guitar, harp, harpsichord, but "within" the
to overcome in time this infinite timbral timbre, comparative brightness or mel-
variety of human voices. lowness of the pitches will remain, the
The orchestra and chorus will direction will remain.
present other difficulties—mixed timbres A couple of words about gradation
are usually easier to master when you pitch-ear—the ability to hear whether a
have already mastered at least several pitch is sharpish or flattish, the ability to
individual timbres of orchestral instru- hear tiny gradations within the pitch.
ments, and when you have overcome the My pedagogical experience shows
barrier of individuality of timbres of that some acquire this ability, some do
human voices. not.
Another difficulty—when a person If you are one of those who are not
feels very uncomfortable listening to naturally predisposed to it, and therefore
tapes, to music on radio, to recordings— this skill doesn't come together with other
timbre that is not "alive" seems to obscure skills you acquired just leave it be—this is
pitches even when they are recognized in something people with inborn perfect
"live" timbres. This can also be overcome pitch complain about sometimes, if it
gradually—by doing it on a constant comes by itself (in many cases it is so)—
basis, but it may be time-consuming. good, if not—it is just as good.
I want here to give some useful tips Working with a partner who plays
to those who decide to develop universal a bowed string instrument can help
pitch recognition. develop gradation pitch ear.
All wind instruments and the
organ will give you a very clear picture of
what we spoke about regarding the sev-
enth dimension of pitch color—many stu-
dents who play these instruments
consider these qualities of pitches, their
For Teachers of Children and for Parents,
23 but to be read by everyone

who holds this book
F
irst and foremost, I would like to children, that are curious about the sur-
mention the fact that many people rounding world—who are open to the
who are considered to have inborn world, children that are of sanguinic tem-
perfect pitch actually go through all the per—who are cheerful, active, alert, lively
stages of its development in childhood, as well as innerly harmonious, innerly bal-
but this process very often is not noticed anced.
from outside, because the child can't ana- Often such children are loving,
lyze his or her aural perception, and is not kind, warm-hearted, and always self-
attentive enough to notice when and how assured, with a high feeling of self-worth.
this process of discerning pitches began On the other hand, children, who
for him or her and through what stages it are unhappy, sickly, traumatized, who are
went. abused, or pressured too much, always
Most often perfect pitch in children under stress, who are afraid constantly of
is noticed by grown-ups much later than something or somebody, those from dys-
the actual beginning of the musical studies functional families, those who feel
of the child—sometimes years after the unloved by their parents, whose feeling of
child started to play an instrument. self-worth is low, rarely display inborn
It is especially so in America, where perfect pitch, as well as very shy, passive
solfege and music theory very often are children, and children emotionally imbal-
not studied by the child parallel with play- anced, negative, morose, aggressive.
ing the instrument, and at the lessons of Such children may later in life show
piano (or flute or cello) it is very rare that spontaneous development of perfect
an American teacher is interested whether pitch—when outer and inner conflicts are
a student can recognize pitches or not. resolved or stop playing a drastic role in
So in reality many people who are their lives.
considered to have an inborn perfect pitch Konstantin K. came to me in Mos-
developed it spontaneously in childhood cow at age 6, his parents were divorced
during the first one, two, or sometimes and he lived for two years in an apartment
more years of studies. with a cruel step-father and step-grand-
But many children need help from mother, who used to beat him.
the outside, need someone—a teacher, a The boy couldn't recognize pitches.
parent—who would help them awaken After two years of studying with
their latent gift of pitch ear. me, and after moving with his mother and
Who are these children? little sister into another apartment—thus
My teaching experience has proved removing the cause of his sufferings—he
that children with inborn universal perfect at age 8, began to display universal perfect
pitch mainly are happy, healthy, well- pitch of the highest level.
loved children from harmonious families;
For Teachers or Children and for Parents... 91

This ability was latent in him, but mind and body, or by the circumstances of
for a time suppressed by his unhappiness, one's life.
his fears, and revealed itself as a result of But sometimes trauma or stress can
emotional healing—he was free from his strike other musical abilities, leaving per-
fears, and also as a result of the right sys- fect pitch intact—I know such cases, when
tem of ear-training combined with the sys- as a result of traumas, the creative gift was
tem of emotional relaxation at our lessons. suppressed for years, perfect pitch being
Often, if a child displays perfect left intact.
pitch earlier than stress or a traumatic So the task of every parent who
event in his or her life begins to suppress wishes for his or her child to have perfect
this ability, this child retains perfect pitch, pitch, is to attempt to create at home such
but somewhat "imperfect" perfect pitch— an atmosphere as for the child to be happy
selective or "dirty," unstable. and relaxed, and to always encourage the
Alexandra P., age 10, displayed child so as for him or her never to feel
perfect pitch at the age of 6 in Russia, then uncertain.
when she was 8, the family emigrated to The task of a teacher is to help the
the USA. The stress of emigration, of a child relax at the lessons, using games,
new way of life, and new linguistic sur- interesting and funny stories and fairy-
roundings, made her perfect pitch selec- tales to gradually introduce to the child
tive and unstable. Now her perfect pitch is the world of pitches.
stabilized, after a year and a half of our What is the optimal age for a child
lessons and after getting accustomed to to start?
her new surroundings. It is individual.
Always when a child (or an adult) Children are different not only in
comes to me with an otherwise excellent temperament, but in the level of general
ear, and with general excellent musical intellectual development. Some children
abilities, but who is unable to recognize can start as early as age 4 or 5, some at 6 or
pitches (or doing it in an unstable way), 7.
behind it always stands an unresolved The development of pitch ear in
inner or outer conflict, trauma, stress, fear these younger children is extremely indi-
or uncertainty. vidualized—this process sometimes is
The perfect pitch of many people very slow, much slower than in older chil-
can be suppressed for years till the spiri- dren and in adults.
tual and emotional healing takes place Sometimes even an inborn perfect
and brings it forth to life. pitch can be "asleep" in a very young child
Some would ask—why is it so, that for some time (for months, for a year or
perfect pitch is suppressed, and not some even more), until general intellectual
other musical ability—the performing or development reaches such a level as to
creative gift, for example, or relative awaken it.
pitch? Though I constantly work with
The answer is that the traumatic these younger children, still my opinion is,
experience always hits the most vulnera- that the best age for developing perfect
ble spot, and recognition of pitches is such pitch is not before 7, but after 7—when the
a subtle, refined auditory perception that general intellectual and musical develop-
it is more than any other musical ability ment of a child is high enough, when a
influenced by mood, the current state of child's ear is cultivated by general musical

studies, by playing an instrument for A teacher should ask the child—
some time, and by some relative ear-train- what animals were the family of C, who
ing. will live in the first white house?
Very young children cannot under- What do you think, hearing C—is it
stand why it is so desirable to have perfect mellow, or bright, heavy or light by
pitch, so they lack motivation in compari- weight, dark or light? Where does it go—
son with adults and older children. up or down?
Therefore, a teacher should be very Usually children answer these
inventive in order to constantly maintain a questions willingly, sometimes giving
child's interest in the perfect pitch lessons. unusual definitions to pitches, almost
Perfect pitch in children is developed the always being able to give the pitches defi-
way it is with adults—on the piano. If a nitions of visual colors, even though these
child plays an instrument other than definitions are rarely the sign of synesthet-
piano—on it too. ical perception, which I described in
I usually use for younger children Chapter 6, "Esthetics of Synesthetic."
the following fairy-tale to introduce On the basis of these definitions the
pitches. child will choose the animal for the house
Once there lived a little princess of C (it may be a bird, or a fish). Don't curb
(prince). Her (his) name was Jane (Tom). the child's fantasy, even if it seems to you
She (he) had a kingdom of her (his) own— that definitions are too far-fetched for a
a magic forest in which magic animals and certain tone—pitch colors as yet are not
birds lived in beautiful houses Princess clear for a child. The same as you did with
Jane (Prince Tom) built for them. This pitch C should be done with pitches E, G,
kingdom was rather small—only twelve and B at the first lesson.
families lived in it. Some of the houses Then, further on, at subsequent les-
were of shining, immaculate white color, sons, a teacher and a small student create
some of them—of practical black color— a fairy-tale together, giving houses—white
easy to keep, but all houses were very and then black—to more and more fami-
cozy and comfortable. All families were lies (adding pitches in the order described
quite large—mother, grandmother, father, in the "Grow a Row" chapters), inventing
grandfather, and in all families—not less interesting stories about those animals—
than three children, and in two families pitches—parties, adventures, music
there were even great-great grandfathers, school for children of those animals, pic-
and in one family—a fourth child—a new- nics, visiting, etc.
born baby. The first families that moved This is preliminary work—the child
into the four white houses were families of is only getting acquainted with pitches
C, E, G, B. Then a teacher should describe without trying to recognize them. A
the families to a child—Mommy C—mid- teacher should always choose the appro-
dle C, Granny C—C an octave lower, priate moment in a child's development to
Daddy C—C two octaves lower than mid- start the pitch ear-training—that same
dle C, Grandpa C—the lowest C, then three way, as with adults, as I described in the
children—three pitches C in the three "Grow a Row" chapters—in the two
octaves above middle C, and a baby—the octaves—above and below middle C and
highest C. adding pitches gradually—C, E, G, B; then
A, then D, the last white—F; then all
"black" pitches—F#, Bb, C#, Eb, Ab.

To younger children it is possible to More about developing perfect
give only horizontal pitches, vertical ele- pitch in children will be in my next book:
ments will come later on—when a child is Perfect Pitch for Your Child.
older, and when his or her relative pitch is
also developed parallel with horizontal
pitch ear.
With older children—after 10 and
of high-school age—it is possible to work
the way I described for adults.
Children, in comparison with
adults, having lack of motivation, have the
great advantage of having a parent or a
sibling as a partner at home, to play the
keys on the piano.
It is necessary to have a piano at
home for pitch ear-training.
If a child plays a instrument other
than the piano, it is possible to develop his
or her pitch ear on this instrument with
the help of that teacher who teaches the
child violin or flute for example, allotting
five minutes of each lesson to listening to
and identifying the pitches on this instru-
ment.
The expansion of a child's perfect
pitch in the terms of range goes the same
way as with adults. Aural recall should be
introduced the same way I described in
the "Grow a Row" chapters.
Children usually love to work with
rhythmic patterns, filling them in with
pitches they currently study. For many
children this exercise is the awakening of
their creative gift—they begin to compose
music.
The development of pitch ear in
children seems to me of the greatest
importance—it will enhance the general
musicianship, general ear-alertness of a
child, it will improve memorizing, sight-
reading, tone-production, it will also help
develop creativity in a child.
It will boost up the general intellec-
tual development of a child . . . Teachers
and parents should exert all efforts to help
the child develop perfect pitch.

24 Go to the Limitless,
Perceive the Whole
H
uman possibilities and abilities are such as pitches—for them they are too dis-
limitless if we think of ourselves as connected to be kept in memory.
of inseparable parts of Eternity. But in reality it is not a paradox—
You, probably, have heard of the what is connected, united into something
phenomenon of multiple personality dis- whole keeps in memory and is recognized
order, when one person, unconsciously, better than just a disconnected particle.
from time to time turns into different per- For example, we easily recognize a
son, or even several different persons— nostril when seeing a nose on a human
each of which will have distinctive traits face and the whole face. But try to recog-
of character, different abilities, even state nize a nostril if you see just a drawing of
of health. this opening—we wouldn't probably
Often a person stricken with this understand what it is.
disorder will display an outstanding gift The same is with pitches—there is a
for something—be it music, visual arts, primary feeling of the pitch row—of a ver-
poetry, etc., which he or she wouldn't dis- itable rainbow of pitches, and like a rain-
play in their natural state. bow of visual colors, it gives us
If a person can display certain out- simultaneously the feeling of each sepa-
standing abilities, impersonating some- rate pitch, of each color in a rainbow, and
one else unconsciously, why not unlock the feeling of all the rainbow at once—we
this potential on conscious level? recognize pitches as parts of the whole.
Have you noticed, that sometimes Those who can't recognize
musically gifted children, playing the pitches—you didn't lose your rainbow; it
game—imagining that they are outstand- only became obscured by the dark clouds
ing musicians, can do miraculous things, of your circumstances, by the peculiarities
playing a piece many times more difficult of your way of perceiving the world.
than it is expected from them to play, and Now it is time to clear, to set free
many times better than they usually play? your rainbow of pitches.
For traumatized people their world If you are reading this book now it
crumbled and is smashed into pieces. means that this moment came—you
They are prisoners of this divided world, a would never want to have what is not
world separated into bits. already yours.
Only those who perceive the world On this way there are no limita-
as a whole entity can easily perceive sepa- tions—you can start developing perfect
rate parts, separate elements of it, such as pitch at any age, with any musical back-
pitches. ground, playing any instrument.
Others, who are in the bondage of All that prevents people from per-
separateness, paradoxically can't perceive ceiving and recognizing pitches is the illu-
and recognize well separate elements, sion of separateness; different timbre
Go to the Limitless, Perceive the Whole 95

prevents a person from recognizing So, go to the limitless, infinite,
pitches on the instruments other than the become part of it and let it become part of
one he or she plays. Different registers you.
prevent another person from recognizing Let go of everything that brings
pitches in a register other than the middle. separateness in your perception, let go of
Different texture—prevents a person who doubts, of memories and concepts that
easily recognizes horizontal, separate make you feel uncertain and insecure.
pitches from recognizing them in vertical Who are you, seekers of perfection,
units—chords and intervals. readers of this book?
But this separateness of timbres, No matter, whether you are a pro-
registers, texture is only a mirage, a capri- fessional musician who wishes to develop
cious play of our perception. There is a perfect pitch to be able to penetrate the
flow of vibrations, produced by musical deepest mysteries of the essence of music,
instruments, human voices and other or an amateur who wishes to develop per-
material objects—an indivisible field, fect pitch to know when to tune your
which is part of the cosmic flow, and at the piano, you are welcome to start the fasci-
same time—part of you, and you—part of nating quest—to regain back your twelve-
it. pitch rainbow.
We ourselves divide, chop into bits
called pitches, this indivisible field—we
actually touch Eternity here—this division
can go on infinitely (see Chapter 1).
As soon as you acknowledge the
field of musical pitches as part of you, and
yourself—part of it, you'll begin to move
along the way to be able to recognize, to
catch in this flow separate bits of it—sepa-
rate pitches.
That the field of pitches is part of
each human being was proved by the
Gandharva therapy of Ayurveda—based
on thousands of years of experience that
certain combinations of pitches and also
the way an instrument is tuned (sharpish,
flattish) cause reaction of human organ-
ism; no matter who listens to this thera-
peutic music, whether the patients have
any musical background or not—the
patients can be absolutely unaware of
what pitches were played, but all would
experience beneficial changes—lowering
their blood-pressure, getting rid of pain,
lowering their cholesterol level, etc.,
because the field of pitches is the intrinsic
part of us, and we—of it.
Go to the Limitless, Perceive the Whole 96

"On Keys"
Joseph A. Bachour
Sometimes I think D major is the secret of the Universe,

while C major is the gloriously beautiful and brutal existance of life on earth.
Of course, G major is the heaven's mysteries—a glance for us.
E major is a cry to beauty. E minor will never be answered.
F major and minor are grounded in the robust pleasures and trials of man's pre-electric,
purely mechanical world—happy to put bulky contraptions to work
—a windmill, a watermill, even the steam engine.
b major can be elegant, not delicate and never fragile, but large, round and profound.
B
C# major is delicate, almost ready to break, or ready to break you.
Its effect can be subtle or crushing. Be careful.
#
C minor is already dead. It's just not living anymore.
Eb major pretends to be very alive and robust,
but it is only keeping its back to its neighbor: C#.
Eb minor has turned around and is facing back. The outcome is not clear.
C minor will eventually win—not to be hopeless.
It is Ab minor that should despair.
Bb minor has seen tragedy,
but D minor has either never known it, or offers noble consolation.
Maybe D minor could know of the secrets of it's parallel major. It has hope to cope.
Ab major is sometimes regal, usually full and grand.
It is this worldly joy, though, not the deepest kind.
A major is stunning glory that knows what is above,
and has both head and hands already there.
Heels are lifted off the ground.
A minor is the same, the other half, though. Those toes are still touching.
For encouragement, I would never look to B minor.
It can only be, or usually be brutal and painful.
#
F major would take me for a ride, and a seemingly very pleasant one and exciting,
but is all this so very lasting and fulfilling?
#
F minor was alive and pumped a heart, but the heart dried up and became brittle.
It might be collected by science as a specimen now,
but carefully, and needs to be protected by glass.
B major is alert with eyebrows up and nerves ready to receive stimulation.
It also cries out (but to what?) and could even be brash.
G minor—a little bit sleepy. It is healthy, but tired—
still young, not jaded, but worn some.
It probably will have troubles and trials ahead, and is beginning to know it.
97
Appendix I - Samples of Rhythmic Patterns
1.

          
            
2.

                  
3.
                    
4.

          
           
5.
   
                  
6.
  
                     
7.
     
                            
98
8.
                     
9.
                         
10.
      
                              
11.

                                    
12.
                           
13.
                                   
14.

                 
15.

                           
                     
99
16.
      
                          
     
                      
17.
                        
    
              
18.
                     
19.

3 3 3 3
                         
3 3 3
                     
20.

3
 3 3 3
                           
3 3 3
                    
100
Appendix II - samples of "Volleys"
  
  
2 3 4
   
         


  
 
5

6  7
 

8

   

       
    

 
9
 
10
   
 11
 
   12
   
    
 

         
13 14 15 16
       
  
 
  
       
   
17 18 19 20
     
     

    
    
 
      
21 22 23 24
 
      


 

25
   
26
    
27
 
28
  
       

      
  
        
29 30 31 32
   

   
101

 
       
33 34 35 36
        

      
37

38  39
   40  

      
       


    
 
41

 42 
  
43
 
           
 
44
   45

46  
  
    
   
  

47  

48
    
   
  
 
49
       
 50
    
 

   
   
          

51 52
   



  
  
            
53 54 55
 
   

    

    
 
56
     
57   

     
    


 

102
Appendix III
1-part Dictations - tonal

    
    
1.
   
         


          
2.
               

3.

           

 
 
  
   
   
    
4.
      
     
      
   
        
  

5.
  

             
     
    
 
      
6.
      
  
 
  
   
        
     
 
103
7.
   
                   

        
        
 

             
8.
          

    
            
         
 
  
   
9.
    
                    
     

 
          

 

      
        

 
                   
10.

         


         
          

   

      
     
 
  


          
11.
   
                
     
104
   
             
                   

              
12.
          
     

   
                 
      

   
   
        
            
    
  
        
13.
 
           
   
14.
     
      
 
 
    
 
 
  
15.
   
        
 

16.
   

      
   
  
         
  
   
17.
    
       
   

           
18.
      
     

105
       

19.
              
   
20.
    
   
    
    
  
    
        
21.
  
          

        
22.
        
  
     
23.
    
          
    
  
24.
         
         
 
25.
                   
        
106
1-part Dictations - atonal
1.

       
 
           
 
             
2.


  
 
      
 
     
  
3.
              
    
 
      
      

     

  
4.
      
    
 

     
       
5.
    
          
 
 
    
  
        
6.
     
    


   
   
7.

    
          
   
 
   
107
8.
 
                     
 
     
9.
   
         
  
                 
        
10.
      

     
  

   
11.
         
         
         

        
  
           
12.
  
       
   
13.

 

            
  
  

      
14.

           
     
108
  
  
15.
       
   
  
  
      

16.
                      
  
     

        
17.
        
    
 

18.
      
   
 
  
      
  
       

            
   
19.
  
    

 
 
 
     

20.
        

    




   
 
21.
   

  
   
 

  

   

 

109
1.
            
    

   
           
  
           
     
          
  
 
2.
 
               
       

   
           
       
             

  
3.
         
      
                  
 
                
 
       
           
110
 
            
 
      
         
 
    
4.

  
           
 
                
      
    
         
          
                       

   
    
5.
   

     

3
                

        

3 3
              
 
  
     
          
     

111
6.
        
   
   
      
       
    
  
              
   
 
    
 
    
           
   
1.
      
             
 
 
            
                 
     
 
2.
         
             
            
                 
   
      
3.
           
  
 
 
              
          
      

112
              
4.
     
      
      
   
    
             
 
5.         
        
          
                
          
             
 
6.
     
      
      
                
 
   
                    

              
          
               
       
  
       
   
 
113
    
1.
               
    
             
   
    


            

                       
      
       
      

           
2.
   
  
       
         
         

          

                              

  
  
               

 
3.
 
                        
      
               

114
  
                          
   
        
    
             
4.
      

    
            

         
  
 
       
   
     

      
               
   
         

      
 
    
5.
             
     
   
     
      
     

               

              

 
          

115
        
                  
6.
  
    

       

    
            
     
         
     

  
               
   
 
   
              
  
       
      
        
7.
              
     
       

             
    
      
 
       
       
       

        
 
    
   

116

1.
    

               


 

                 
 
 
    


       
      
      
     
    
  
2.
      
 


  

    
    
     
  
 
         
 
 

 
     
     
   
    
      
3.
       
   

                    
   
             
 
117
   
   

     
         

 
            
4.
 
          
            
      
      
        
      
   
   
    
    


    
5.
               
             
         
        
          

      
             
118
  
1.
    
          
         
        

      
     
   
      
     
  
2.
 
     
        

   

    




 

   
    


            
   
   
      

3.

  
     



    
   

            
      
119
 
    

  
         
            
       
4.

       

    
    
 
      
      
        
   
 
          
    
 
                 
   
5.

      

  
         
   
        
              

 
             
           
                   
   
120
6.

                
          
    
   
  
 
  
          

         
    
  
7.
            



  
       
        
       
       
           
 
  
  
  

     

   
121
            

1.
      
      
         
   
  
    
    
  
           
            
     
                  

        
   
  
2.
         
 
   
  
             
   

 
       
 


     
      
    
 

           
     
  
3.
       
      
                  
      
122
  
            
 
         
   
       
    
 
 
4.
   
            


                

     
          
 
 

          
  

    
5.
  

    
      
     
 
 
           
         
    
     
         
           
         

123
Bibliography
David Lucas Burge The Perfect Pitch Ear-Training Super Course, American Educational
Music Publications: Fairfield, Iowa, 2002
Almut Rossler Contributions to the Spiritual World of Olivier Messiaen, with Original
Texts by the Composer: Gilles and Francke, 1986
Faubion Bowers Alexander Scriabin. "Poem of Ecstasy" and "Prometheus: Poem of Fire,"
in full score. New York: Dover Publications, Inc., 1995, p.114
Gottfried Schlaug Science, 3 February 1995, pp. 616 and 699
Bibliography 124

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Perfect Pitch

Len Rhodes Music

Find us on the World Wide Web at http://www.lenrhodesmusic.com

Copyright © 2007, Len Rhodes Music

Document design by Rhonda Spradling

First engraving—April 2007

What her students say . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .iii

This book is the result of many years of my pedagogical work with

The book consists of two parts—the first one discussing the

To my readers—please, be patient, and read the first part of the book

Alla Elana Cohen

Music fell from the heavens, my teacher told me.

Alla Elana Cohen is a composer, pianist and music theorist.

As a composer, she works in all the genres of orchestral

She has been recognized as a composer by ASCAP,

The Miraculous Bell-Ringer or 121 Sharps and 121 Flats 9

For those who read this book with

The Miraculous Bell-Ringer or 121 Sharps and 121 Flats 10

Perfect Perfect Pitch and Imperfect Perfect Pitch 11

Perfect Perfect Pitch and Imperfect Perfect Pitch 12

All aforesaid kinds of selectivity

Special forms of perfect pitch:

1. The ability to recall pitches from

Proponents of Ten Components 15

Proponents of Ten Components 16

The Overtone Row

Proponents of Ten Components 17

To Have or Not to Have—That is the Question... 18

Red Orange Yellow Green Blue Violet Purple Steel

To Have or Not to Have—That is the Question... 19

To Have or Not to Have—That is the Question... 20

To Have or Not to Have—That is the Question... 21

Note Description Visual

Goes straight forward.

Goes aside. It is a “wavy” pitch.

Behaves in a more complex way—at

Goes up; it is a “wavy” pitch with a

Goes down, like C, but unlike C, it is

Is also a “wavy” pitch. It goes for-

Behaves in a rather complex way—it

Goes up, but with an initial “scoop,”

Goes gradually up, as if climbing up a

Note Description Visual

Heavy, unpleasantly bright, reddish-

Light by weight and color. Mellow.

Mellow, with greyish tinge, “wavy”

In between bright and mellow, on the

Sweetly bright. Energetically posi-

Very bright, brilliant. Energetically

Is There a Flaw in the Universal Law? 32

Why was it necessary to speak at

Is There a Flaw in the Universal Law? 33

Is There an Explanation of the Sense of Pitch Location? 34

Is There an Explanation of the Sense of Pitch Location? 35

Is There an Explanation of the Sense of Pitch Location? 36

What Color is the Relationship... 37

What Color is the Relationship... 38

What Color is the Relationship... 39

What Color is the Relationship... 40