relative pitch


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Related to relative pitch: perfect pitch

relative pitch

n. Music
1. The pitch of a tone as determined by its position in a scale.
2. The ability to recognize or produce a tone by mentally establishing a relationship between its pitch and that of a recently heard tone.
References in periodicals archive ?
Relative pitch is the production of a note given another heard note, which might correspond conventionally with instantly saying the letter that is five letters after 'H' ('M').
The play is brought to Liverpool by Little Pixie Productions and Relative Pitch Opera as part of a national tour, and stars Josie Bentley, Bentley Daniel Booth, and Cheshire-based Helena Leonard, the company's classical programme director.
He discusses the differences between music and language and music and sound, the concepts of musicality and musical talent, humanity's ability to hear the beat, the phenomena of perfect and relative pitch, how music is cognition that occurs in the listener's mind, and how everyone is musical.
He plays with bassist Michael Bisio on Floating Ice, the new release from New York's Relative Pitch label, and with saxophonist John Butcher on At Oto on England's Fataka label.
I worked painstakingly on relative pitch, honed my ability to recognize relationships between pitches, chord qualities, etc.
The relative pitch of Pelleas's voice, Grayson points out, has implications for our understanding of the character's youth, virility, and even his sexual identity.
The dominance of relative pitch encoding and transpositional invariance is universal across musical systems.
It is important for the singer to have a strong sense of relative pitch and a strong ability to audiate pitch to successfully and accurately perform these pieces.
Scholars working in psychology, behavioral and brain sciences, cognition, physiology, development, and neuroscience in the US, UK, and Canada discuss theory and research related to the basics of musical note perception; the way relative pitch in music conveys tonal relationship to listeners; acquiring musical sensibilities in different age ranges and cultures; emotional responses to music; basic distinctions among tempo, meter, and rhythm; the links between musical perception and behavior to nervous system dynamics; and the ability to recognize melodies at different ages.
If you know a scene is going to have a score or source music, why would you not choose to let that fully inform your choice of sound effects and ambience elements, or at least their relative pitch manipulation?
Much more common is relative pitch, the ability to tell the difference between two notes.