Thankfully, I am not 'gifted' (or 'cursed') with it. What I have never understood is how does 'perfect pitch' work in a world where, until very recently, pitch has never been fixed. 'A' might equal 440 today, but it has varied widely over the centuries (by at least as much as a minor third - as witnessed by early organ pipes). And this is to say nothing about equal temperament or other systems of tuning. Presumably, folks with perfect pitch have learned the pitch/tuning system that they have grown up with?
That's a whole new can of worms, musicus, as I discovered on the ABRSM MB some time ago...
We have a choir member, gifted pro musician, who finds it painful to sing in a key other than the one written, and can always tell me immediately where I have transposed to.
I am talking about a very small choir, and pretty ad hoc music, (e.g. reminding 'the few' of the psalm tone, singing it thro' much lower than written because I cannot sing high notes, and some of them cannot reliably read music.) Get's interesting...
I can often pitch, a bit like Gwyn, by singing through Humpty Dumpty, which I 'hear' in A.
Memory, I am sure, has a great deal to do with it , and I know that if I put on a record of a song I may not have played for years, I can still be ready to come in on the right key before it starts. Yet those at ABRSM didmiss this as 'only memory,' not true perfect pitch. As musicus says, what was pitch about before it was fixed?
Years ago, browsing through a music encyclopedia (Oxford Companion to?), I came across an article on perfect pitch which said (as far as I can recall) that it is simply a form of memory, and moreover, one that can be cultivated. It said that just as it is possible to develop, over a few months, an instinct for knowing what time it is by frequently guessing and testing yourself during the day, so it is possible to improve this memory by singing an A (or whatever) every time you pass a piano and then checking. I never managed to learn the sound of an A (although I'd be surprised if professional orchestral players couldn't 'auralise' one by imagining what 7.30pm sounds like) - but I did become very good at telling the time without a clock!
From one who is "cursed":
it is simply a quirk of memory, it is not "perfect" in that it can be conditioned into thinking somewhat flat or somewhat sharp (up to a semitone), and I know of many people who can acquire it by habit. It makes one lazy about reading intervals, but it does come with a some innate understanding of relative pitch. That is, if I know a piece in one key I can transpose it into another key easily. As for reading a piece in a different key, that's very difficult.
Anyhow, even with perfect pitch, I don't think I could have reacted at the speed that Simon, the WC organist did with his pitch pipe (see above).
I knew I'd regret that abbreviation. Nice limerick, Vox
We (me and Year 9) were watching a video this morning on the difficulties of staying in space for long periods. This American astronaut guy kept mentioning "going to the bathroom" and how not "going to the bathroom" enough could lead to kidney stones. So I stopped the video and asked them if they knew what he was on about. They did, of course, and described in graphic detail the consequences of going to the toilet in conditions of (apparent) weightlessness.
Long live the WC and all who "play" on her.
Is this sufficiently off topic for an intervention from Mr Bear?
Just reading this topic reminds me to say how blessed I am to be part of the liturgy at the cathedral! And yes we do have Celtic Alleluia occasionally at Saturday 5.30 p.m. Mass. I too marvel at the organist's ability to follow the celebrant's wayward pitch. Not to mention fantastic improvisations - what a gift! Some of the visiting choirs we have heard this year have been outstanding. And let's not forget the influence the cathedral choir school must have had over the years. To hear the old choristers sing chant at the special Mass when Colin Mawby received his Knighthood of St Gregory was a delight - such flexible light singing.
I agree with Organist. I think a highlight this term has been the playing of Simon Jacob the Organ Scholar. He is the best OS that the cathedral has had for years. Nice to see a non Oxbridge candidate get this post.
Thank you for your comments. I shall pass your compliments on to Simon Jacobs who, no doubt, will be pleased to hear that his efforts as organ scholar at Westminster Abbey have also been appreciated as far afield as Westminster Cathedral.
And I am guilty of getting my Simons mixed up. I, of course, meant Simon Lloyd. What with the choir's US trip and the Baker leg break he has had a busy term. Far more playing than he would have got at an Anglican foundation.
I should also add that I enjoyed the Christmas Celebration. All excellent but especially so the Poulenc and the Victoria. Lovely to hear the Gospel intoned so well.
Looking back over the past year at the cathedral, the highlight for me was the Tenebrae concert with the choir singing Byrd's Civitas in the middle of the darkened nave. Also the 1730 Sunday cantor's sublime singing of Cruxifictus before the gospel on Palm Sunday.
As for Simon Jacob,we shall hear him in the New Year at a Sunday PM recital.
edbowie we really must meet up! I entirely agree about the wonderful Tenebrae concert and Simon's superb playing. He played the Bach Prelude in E flat after a Thursday 5.30 p.m. Mass - what a joy! Chorister for a day today was once again a delight. 160 applied and 60 took part! And the choristers sang Vespers so well - their choreography is brilliant too e.g. Good Friday.
I told Martin Baker this evening that John Ainslie's interview with him is in "Music and Liturgy". Good to see it and of course the account of the wonderful pilgrimage to Greece!
And yes we do have Celtic Alleluia occasionally at Saturday 5.30 p.m. Mass. I too marvel at the organist's ability to follow the celebrant's wayward pitch. Not to mention fantastic improvisations - what a gift! Some of the visiting choirs we have heard this year have been outstanding. And let's not forget the influence the cathedral choir school must have had over the years. To hear the old choristers sing chant at the special Mass when Colin Mawby received his Knighthood of St Gregory was a delight - such flexible light singing. 