![]() The same goes for developing crutches such as singing the first two notes of a song to reinforce the relationship between two notes. Learning to recognise the sound of any interval may seem to be a valuable skill, but it has little value outside of the classroom if you can’t relate the notes you hear to a key center. Most ear training programs concentrate on relating one pitch to another pitch. Relative Pitch, succinctly put is based on developing pitch recognition that is relative to a key center. With many different sources all endorsing alternative methods to understand pitch recognition, one thing is very clear- the up and coming bass guitarist often becomes frustrated and confused because, although all of these methods mentioned hold some value on the surface, they only allow the student to hear the individual pitch and/or the distance between pitches- NOT how they relate to a given key center. Many approaches and mixed opinions exist: some espouse you must be able to hear intervals some say that you should develop perfect pitch some advocate learning the first two notes in a song and singing them to recognize the pitches some advise sight singing melodies some state the only way is through transcription, while others insist that musical dictation is the key. Ear training is a ubiquitous concept within a musician’s vernacular, but often the quest for the acquisition of “good ears” is filled with a road of misinformation from post to pillar.
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