Path: utzoo!attcan!utgpu!jarvis.csri.toronto.edu!cs.utexas.edu!tut.cis.ohio-state.edu!unmvax!bbx!bbxsda!scott From: scott@bbxsda.UUCP (Scott Amspoker) Newsgroups: comp.music Subject: Re: What is perfect pitch? Message-ID: <389@bbxsda.UUCP> Date: 30 Nov 89 16:57:46 GMT References: <18807@kuhub.cc.ukans.edu> <365@bbxsda.UUCP> <1989Nov27.212927.3253@agate.berkeley.edu> <7051@portia.Stanford.EDU> <357@quad.uucp> <25742AAA.56CC@rpi.edu> <1989Nov30.014942.3772@agate.berkeley.edu> Reply-To: scott@bbxsda.UUCP (Scott Amspoker) Organization: Basis International, Albuquerque, NM Lines: 21 In article <1989Nov30.014942.3772@agate.berkeley.edu> ladasky@codon4.berkeley.edu.UUCP (John Ladasky) writes: > Actually, this is really interesting. I just finished a piano quintet >this month and noticed that I had accidentally written a low B into the cello >part. So I transposed the sequence of the piece up a half-step and played it >back. You have no idea how different it sounded! I had gotten so accustomed >to listening into the piece in one key that, when I transposed it, I seemed >to rediscover all of the voice leading and chord changes. This is something I wonder about from time to time. Sometimes the band I play in will have to transpose a song for vocals. I found that transposing a mere whole step can sometimes *ruin* a song. It just feels different. Also, why is it that keys requiring a lot of black keys on the piano sound "richer"? Sometimes I think it's psychological since I *know* I'm hitting a high ratio of black keys to white keys, but I've heard other musicians acknowledge it also. -- Scott Amspoker Basis International, Albuquerque, NM (505) 345-5232 unmvax.cs.unm.edu!bbx!bbxsda!scott Brought to you by Super Global Mega Corp .com