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From: jfjr@mbunix.mitre.org (Freedman)
Subject: Re: Re: Perfect Pitch
Message-ID: <1991Mar25.171913.2997@linus.mitre.org>
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References: <7180012@hpfcso.FC.HP.COM> <3137@esquire.dpw.com> <1991Mar25.140024.14520@en.ecn.purdue.edu>
Date: Mon, 25 Mar 1991 17:19:13 GMT

In article <1991Mar25.140024.14520@en.ecn.purdue.edu> davisonj@en.ecn.purdue.edu (John M Davison) writes:
>In article <3137@esquire.dpw.com> weigel@DPW.COM (William Weigel) writes:
>>
>>     The previous post asked whether a pure sine wave Bb sounds different
>>from a pure sine wave A.  David Burge, the perfect pitch teacher, claims
>>that the tone "colors" are apparent even with pure sine waves, and that

>
>	I don't know if this entirely applies to David Burge, but
>anyone who claims that there is a fundamental correlation between
>colors and pitch classes is full of shit, and that's all there is to
>it.
>
>please direct replies to /dev/null
>
>-davisonj@ecn.purdue.edu


   This is a rather strong statement. There is a "type"
of pitch recognition that many instrumentalists develop,
particularly those who do a lot of "transcription" on
their instruments(jazz improvisors for instance).
In this case tone color/timbre is used - although
probably not consciously. For examples guitarist
can recognize what string perhaps even what fret
and deduce from there the pitch being played. I
have known players who, upon hearing a pitch,
imagine that pitch on their instrument and then
deduce that pitch. 

   
                            Jerry Freedman,Jr