Online game " Absolute pitch"

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The game asks the first 33 questions from this list. The entire list of 55 questions (from 34 to 55 chips with a stave) is presented in full version of this game included in the program.

Alexey Ustinov, 2011-12-30

Game updated 2013-11-30

Teacher's comment

Absolute ear for music - the ability to determine the pitch of a tone, regardless of other tones, i.e. without comparing sounds with each other and, as a result, assigning a note name to this sound. The nature of this phenomenon has not been sufficiently studied in musicological circles and, apparently, is therefore represented by different points of view. But it is even less familiar to practicing teachers. At the same time, the skill of “absolute musical ear” constantly remains the focus of both interest and controversy among almost all musicians. It is generally accepted that all string players (violinists, cellists) have such hearing, but this is not so! On the contrary, it seems that the pianist does not need it at all - however, those who master this skill say that it helps a lot, for example, when reading scores... Another often discussed question is whether it can be developed, or is it something... Is it innate?...

What to do with a child who easily picks out any melody and does not want to look at the sheet music at all? How to develop hearing for a student who knows musical notation well but can play false notes, memorizes them and the teacher cannot help him in any way?

One day, my second grade student asked me to play him Gennady Sasko’s play “Blues,” which was quite complex in rhythm, with a passage at the end. I played it three times... and at the next lesson he played the Blues without notes and at the same tempo as the piece was played. The case of this boy was for me an example of my incompetence in working with a gifted student with absolute pitch... I have not encountered many children with absolute pitch in my teaching practice. And most often such children did not finish music school. From the very beginning, they could remember and play the pieces by hand, “by ear,” but reading a complex text caused resistance in them and, as a result, they lost interest in learning.

In other words, the skill of “absolute pitch” is not something separate in the learning process, clearly positive or negative. Both its presence and absence require additional attention from the teacher and a special approach to the student. Still, this skill is extremely desirable!

To help my students, and to avoid repeating the mistakes of my youth, I am now using S.M. Maltsev’s method. - the author of a comprehensive methodology for teaching piano playing, as well as solfegging, synchronized with piano playing. This method helps me identify children with well-developed hearing already in the first year of education and constantly work with them by reading notes from a sheet.

For most students and those who want to master musical wisdom, it is easy to learn and play their favorite melodies on the piano or guitar, they still need to develop their hearing. And the game "Perfect Pitch" is an excellent tool for this. It is suitable for all ages.

Small children, who cannot even read, will guess the right answer from the pictures. (You just need to help them - first play the game NOTES - PICTURES so that the child gets acquainted with the notes hidden in in simple words: HOUSE, TURNIP. There, he will become acquainted with the sound of notes.).

Older children and adults, while playing, will discover that they HAVE absolute pitch and that this skill is developing - verified!

Of course, someone might say that there are no halftones in the game (more precisely, a full chromatic scale). Yes, the game only includes white piano keys, i.e. in fact, we are in a major (C) or minor (LA) mode... Someone may note that the degrees of the mode and intervals play a role here... Absolutely right! But, start with simple tasks, achieve confident recognition of these notes, and you will take a big step in improving your musical ear. Believe me, you will get great pleasure from discovering that you can identify the name of a note by ear!

Krivopalova L.N.
Piano teacher, Palace of Children and Youth Creativity, Tomsk
01.05.2011

The Virartek team expresses its gratitude to Lyubov Nikolaevna Krivopalova, who took an active part in the creation of this game and in its testing. THANK YOU! Good luck to you and your students!

It's safe to say that good hearing is the only ability that allows you to become a musician.

Without this nothing can happen.

Of course it is possible to teach how to play musical instrument a person without an ear for music, but his playing will most likely resemble the actions of a robot executing a laid-down program and unable to deviate from it.

When they talk about musicality, they always mean a well-developed ear for music, even if this idea is not voiced.

I think there are many questions related to musical ear, but the most important ones are the following:

• What do you mean by good ear for music?
• What criteria exist to determine it?
• How to develop an ear for music?

Let's start by defining how musical hearing differs from ordinary hearing.

Musical ear- a set of abilities necessary for composing, performing and actively perceiving music. An ear for music, first of all, relies on knowledge and an acquired system of symbols. For example, everyone can sing the melody of the song “A Christmas Tree Was Born in the Forest,” but not everyone can name the intervals and notes that make up it.

On the other hand, if your head has a stable connection between the first intonation of this song and the fact that this is an interval of a major sixth, then when you hear this in any piece of music. You know that this is a major sixth interval and you can play it on the instrument.

The work of hearing in this case is to memorize certain musical structures and endow them with meaning.

As you can see, hearing development is the application of certain knowledge in practice combined with the development of auditory memory.

Lack of understanding of how to relate hearing experience to hearing development can lead people to believe that they are not hearing.

However, there are practically no people without hearing. Most of the problems are associated with poor quality teaching of the basics in music schools and other educational institutions.

There are many categories of musical hearing. The most important are:

Absolute pitch- the ability to determine the absolute height of musical sounds without comparing them with a standard. This means that when you hear any note, you can name it.

It is divided into passive (small percentage of note detection, limited application) and active.

Relative hearing- the most important for any musician - defined as the ability to determine and reproduce pitch relationships in melody, chords, intervals, etc.;

Inner hearing- ability to formulate a clear mental image (for example, from musical notation or from memory) individual sounds, melodic and harmonious structures, entire musical pieces; very important when learning.

Harmonic hearing- the ability to hear harmonic consonances - chord combinations of sounds and their sequence and reproduce them with the voice in unfolded form or on a musical instrument. In practice, this can be expressed, for example, in selecting an accompaniment to a melody by ear, even without knowing the notes, or singing in a polyphonic choir.

Polyphonic hearing– the ability to listen to all voices in a multi-voice work.

Polyrhythmic hearing– the ability to hear rhythmic figures sounding different sizes and the ability to reproduce these rhythms.

There are several main ways to develop hearing:

Solfage

Solfaging (that is, practice) involves singing intervals, chords, scales, modes, and melodies. This practice strengthens the connection between hearing and the written note, and solfège also forms a specific auditory system.

For example, by singing a major scale, you learn its structure and sound, and gradually it becomes natural and familiar to you, and you will perceive any deviation as an inconvenience. Thus, on the one hand, your hearing is developing, on the other hand, until you master anything else, it will be inaccessible to your perception. This problem can arise, for example, when listening to atonal music.

2. Musical dictation

The process is somewhat opposite to solfege. Here you, relying on the knowledge you have already acquired, write down the melody played by the teacher on notes. For this purpose, various techniques are used (finding stable tonality levels in the melody, recognizing intervals, determining cadences, etc.).

Also musical dictation promotes the development of musical memory.

3. Transcribing (from the English transcribing rewriting) or taking- selection by ear or instrument and recording on
notes of any work.

This can be either taking your instrument or other instruments, or even writing an entire score.

There are various techniques used by transcribers to speed up the transfer process. sounding music on paper (slow recording, tables, analysis, etc.).

4. Auditory analysis– identification by ear of intervals, chords, chord sequences, rhythmic figures, etc.

You can also use various specialized programs (for example, Ear Trainer) to develop your hearing.

Thus, the criterion for good hearing is the ability to hear and reproduce various elementary structural elements, the ability to write down a heard melody with notes, the ability to anticipate a certain sound, the ability to hear music with the eyes, etc.

Surely many have heard the expression “absolute pitch”. In everyday life it is often attributed to people who are well versed in music, musical notation with extraordinary vocal abilities. However, being a highly skilled musician does not automatically mean you have perfect pitch. Moreover, only a few percent of the world's population can boast of this gift.

Mysterious phenomenon

Absolute ear for music is a rare phenomenon whose status is difficult to even determine. Is it the result of the action of certain natural factors or a physiological (hereditary) feature? The result of a unique personality development or a consequence of the influence of the social environment (family, society)? Or a complex combination of all factors? This mystery, even after centuries of study, is shrouded in darkness.

Presumably, most babies have this gift, but quickly enough it is “overshadowed” by other skills that are more important for survival. The main question, thanks to which an element of mystery arises, is the following: why in the same environment of upbringing, under the same conditions for musical development, one of the children develops absolute pitch, and the other does not?

Statistics

Over the years of in-depth research, scientists have accumulated rich statistical material. It turned out that absolute pitch is formed exclusively in childhood, moreover, precisely in preschool, during the period of dominance of involuntary acquisition of skills. This fact is unanimously confirmed by all researchers of absolute pitch. At the same time, the formation of a rare skill requires quality mandatory condition the presence in the child’s family of a musical instrument whose pitch is fixed. For example, keyboards, a number of wind instruments (accordion, accordion) and others. The reasons for this, presumably, lie not so much in the field of psychology of human abilities, but in the psychology of individual differences (differential psychology).

Absolute musical ear steadily retains its status as a phenomenon as an outstanding, exceptional phenomenon in a certain respect. This is due to its relatively low prevalence. According to researchers, 6-7% of professional musicians and no more than 1% of all music listeners have absolute pitch.

Definition

Absolute pitch is the ability of people to determine “by ear” the absolute height of sounds. Musicians with this gift remember the absolute pitch scale of the 12-semitone octave scale. They are able to accurately determine the pitch of any sound without outside help. In turn, absolute pitch is divided into:

• Passive - the ability to match the pitch of an audible sound.
• Active - the ability to reproduce a given sound with the voice (the owners of “active hearing” are an absolute minority).

There is also the concept of relative hearing - not an innate, but a learned skill, when people are able to correctly determine the pitch of a sound using “cues” (a comparison object, such as a tuning fork).

Development of absolute pitch: pros and cons

For more than a century, there has been debate about whether this rare natural ability can be developed and trained. Theoretically, this is possible, because under the influence of some factors it is formed in children. However, critics of teaching methods argue that there is no mass “influx” of musicians trained in absolute musical ear.

IN different times different people Methods for artificially acquiring absolute pitch were invented, but they were not widely used in practice for a very simple reason: they were not in demand among professional musicians. By all accounts, absolute pitch, although it greatly facilitates the implementation musical activity, but does not guarantee its success, and sometimes even complicates it. In addition, numerous reliable facts indicating that not all famous musicians had absolute pitch confirm the thesis that this ability is not obligatory or decisive.

Moral aspect

And yet, the problem of absolute pitch claims to be an eternal one, since it consists in dividing all participants in the musical community into two “camps”: people who have the gift and those who do not. This confrontation cannot be avoided.

In other words, the possession of absolute pitch is not a matter of conscious choice, but of some kind of “blessing from above.” At first glance, people with relative hearing seem to be disadvantaged: in comparison with “absolute listeners,” they need the help of a tuning fork or any other source of sound standards. In addition, when performing one or another operation related to determining the pitch of sounds, “absolute speakers” demonstrate unconditional superiority, which cannot but affect the self-esteem of those with relative hearing.

The most striking consequence of this situation is the formation of a kind of professional inferiority complex in persons with relative hearing. This happens despite the widespread assertion that highly developed relative hearing is quite successful, and sometimes even more effective, when performing musical activities.

Scientific approach

Musical hearing today is considered differentiated in the following gradation of levels: melodic, harmonic, tonal, polytonal, modal, internal, orchestral, polyphonic, rhythmic, physical (natural), singing-intonation, subtle, acute, absolute, choral, operatic, ballet, dramatic. , stylistic, polystylistic, poetic, ethnic and multiethnic (absolute pitch).

It is possessed by composers, conductors, folklorists, the first violinist of an orchestra, arrangers, piano and organ tuners. Many researchers agree that absolute musical ear is a product concentrated on the basis of versatile natural phenomena, human genetics. It should be developed by capturing the voices of nature, birdsong, animal cries and even man-made (industrial) sounds.

How to develop absolute pitch

Whether it is possible to develop 100% hearing through training is a controversial issue. Usually people who achieve good results are called owners of pseudo-absolute pitch. It is advisable to develop talent in preschool children if they are capable of music. It has been proven that the most favorable time for a full perception of music is childhood, when the family learns the basics from the parents. musical culture, the ability to perceive, understand, feel, and experience musical images is cultivated.

Models of development of absolute pitch

Several development models are practiced in Russia. They are based on two principles for controlling intonation and hearing:

• oral (by text);
• associative (by notes).

The process of mastering comes down to the fact that at each lesson the entire scale with words is sung, then each student sings it during breaks, on the way home, after completing homework, at your leisure. He has it constantly in his head. When basically the text of the model is fixed in memory, which is not difficult by analogy with poetic texts songs, the text is sung in breakdowns in the most various options. In the future, the key should be changed and try to sing the text in a new key, as a result of which the student begins to operate and modulate in any key.

Regular singing exercises develop an internal ear for music. The student begins to hear and determine what sound is being made - mi, sol, fa, la, etc. By analogy with what composers, folklorists, ethnographers, and conductors with absolute pitch have learned.

History lessons

What can a person with perfect pitch do? There is a famous incident in history that happened to the great L. Beethoven. It so happened that his physical hearing disappeared while conducting a piece at a concert, but his absolute, internal musical ear helped, helping the composer to conduct symphony orchestra(310 participating musicians).

Physical deafness did not prevent another opera composer - N. S. Dagirov (the operas “Aigazi”, “Irchi-Cossack”, in collaboration with G. A. Gasanov “Khochbar”, the ballet “PartuPatima”), who had not heard the production of his monumental works, but felt and perceived them with inner absolute pitch. With the loss of the physical, the inner hearing does not disappear. A person with absolute pitch will be able to syntonize quite accurately, display, and beat out the rhythm closest to what was heard.

Conclusion

Seeing, remembering, recording, learning to catch and hear the music living around us is the goal and task of the model for the development of absolute pitch, first in preschool, then in school upbringing and education. The development of musical hearing into an absolute one leads to a differentiated perception of the timbres-voices of folk, symphonic, jazz and other groups. After all, the main goal of human society on Earth is to study and improve the surrounding life in space and time on a new turn of the spiral of evolution.

A trained person is necessary for everyone who plays music.

What you hear is what you play and if you have trouble recognizing different types chords, rhythm or melodies, this greatly limits your options.

One day after class with my students, I decided to have a cup of coffee. On the way to the coffee shop, I heard the cry of a bird flying past. Nothing strange, you say. But there is one little thing: I recognized in this sound an interval of a major third. And now, I already have an idea for the next article!

I have been teaching guitar for a long time and I can say that most modern guitarists are very good and too good. A great way to see if you can play by ear is to have a friend play an easy phrase twice and then try to play it yourself.

If you manage to play the phrase without errors the first time, you are on on the right track. If you had to search for the right notes for a long time, it’s time to start ear training. Like playing technique, the ability to recognize and understand musical sounds requires constant practice and effort. Many of my students and comrades have no idea how to train their ears, so I have developed several ways to do this.

How to train your ear

A good idea is to go to your nearest music school and find out if they offer courses in solfeggio and ear development. I myself had no idea about the importance of hearing until I started taking ear training classes at music college. Among other things, they teach you how to recognize. You will also learn how to write down melodies on paper and recognize rhythms.

What if you can already select melodies and you don’t need to be an expert in rhythms and musical notation? Great! Now try explaining your musical idea to the band's keyboard player! Remember: professionalism is not a matter of minutes! Your colleagues will certainly appreciate your attention to detail. Ultimately, the majority music courses are based on the same thing. Try playing and singing the major scale, trying to hit the notes.

To start, choose the key that is easiest for you to sing in. Then you can play and sing the notes of the scale with gaps. For example, in the key of G major, you play and sing the note G, skip the note A and sing the note B. Practice until you feel it comes easy to you. Then try singing that note without the guitar. Achieve maximum accuracy.

Sing the degrees of the scale as follows. The first step is tonic, then the second step, etc. In addition, you can also practice singing, as well as other modes and

Every person, if he loves to sing, dreams of performing compositions so that the audience then enthusiastically applauds him. But for this you need nothing at all - to have perfect hearing. But how to achieve this? There are special exercises for developing hearing.

What are the types of hearing?

Oddly enough, musical ear is a rather complex concept and cannot be categorically denied or affirmed (“I have hearing/I don’t have hearing”). The fact is that every person can have one or another subtype of musical ear. Is it possible to develop certain type rumor, it is impossible to answer unequivocally, since there are a lot of these species.

1) Rhythmic hearing, that is, the ability to feel the rhythm, the emotional component of the melody.

2) Modal hearing, responsible for the ability to understand chords.

3) Ear of intonation, which allows you to understand the nature of the music (cheerful or sad).

4) Inner hearing - the ability to reproduce the musical notation of a melody.

5) Interval hearing - ability to sing musical intervals and determine the pitch of sound.

6) Absolute pitch - unique ability determine the pitch of any sound without comparing it with a reference sound.

How to develop an ear for music

If you don’t know how to develop any type of musical ear on your own, try doing the following exercises daily.

1) To develop rhythmic hearing, try to read poetry to music, dance to your favorite music, counting the bars. By the way, we develop musical and rhythmic hearing precisely by moving, so body plasticity has no last value for a musician. The opposite is also true: any dancer must have perfect pitch. These are interconnected things.

2) Listen to your favorite compositions, preferably short ones to begin with, and then try to reproduce this thing in your own voice, but without music. Then test yourself by turning on the original.

3) Sing monochromatic scales (note series "C - B" and "B - C"), even though it is boring and uninteresting. This is an invaluable experience for hearing development.

4) Sing “chromatic scales” (played only on the black piano keys in one tone). Such scales help to better develop an understanding of the differences between modes.

5) Select your favorite melodies on a musical instrument, even without knowing the exact notes. Eventually, someday it will be almost impossible to distinguish you from the original.

6) Enroll in a music school. It is music teachers who will help develop an ear for music with the help of a special discipline called solfeggio.

How to develop absolute pitch?

Oddly enough, but not at all. A person can only be born with an absolute ear for music. Therefore, the question of how to develop absolute musical ear is not entirely appropriate. In the absence of absolute innate musical ear, it is better to focus on the development of other types of hearing - intonation, rhythmic, internal, etc.

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