| The ability to identify pitches without an | | | | characteristics of the given instrument and its |
| established reference is called perfect pitch, or | | | | possible timbres (the different sounds that can be |
| absolute pitch. Essentially, musicians with perfect | | | | made by one instrument using different |
| pitch know what a note is when they hear it, | | | | techniques) and the harmonic background of the |
| without any restrictions. This is a useful ability | | | | music. Musicians have to understand individual and |
| because it allows musicians to do things like playing | | | | combined pitches without being thrown off by |
| by ear and transcribing music. For singers, it's | | | | any other aspect of the music. |
| essential to have a good command of pitch in | | | | Through ear training, a musician can acquire all of |
| order to perform in tune. | | | | these skills, and then some. Ear training can |
| Identifying pitches by name, regardless of | | | | incorporate various exercises designed specifically |
| instrument or context, requires a few specific | | | | to impart the ability to identify pitches in a variety |
| skills. First, you need to have the basic knowledge | | | | of musical contexts. Ultimately, by putting the |
| of what those notes are, meaning their names | | | | time in to train the ear properly and thoroughly, |
| under either the A-G or solfege naming systems. | | | | identifying pitches can become second nature. |
| You'll also need to be familiar with the pitches that | | | | Therefore, the way to reap the benefits that |
| belong to those notes. This doesn't necessarily | | | | come with a strong command with pitch is |
| mean that you need to memorize that, for | | | | through ear training. This way, anyone, regardless |
| example, F4 in standard pitch vibrates at 349.229 | | | | of ability, can learn to identify individual pitches. |
| Hz, but it's possible for a musician to memorize | | | | After ear training, you'll find yourself recognizing |
| the sound of that pitch, so that it can be identified | | | | those specific notes in music the same way other |
| or reproduced at any time. | | | | listeners make out the words. |
| It's also necessary to account for the | | | | |