Piano Guidance
Piano Guidance
Photo: Angela Roma
Muti, Solti and Maazel have absolute pitch; Tchaikovsky, Furtwangler and Wagner did not.
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Read More »Absolute pitch is not an all-or-nothing capacity; even among highly trained musicians, whose aural capacities have been given full scope to develop, there are many who command some absolute-pitch abilities and not others. Especially, there are many who can recognize a pitch when they hear it, but cannot sing it out of the blue. Others can name pitches reliably in isolation but have decreasing acuity as more notes are sounded simultaneously, and still others can recognize pitches only when they are sounded on a familiar instrument. There are also musicians who cannot name isolated pitches but can reliably recognize the key in which music is being played. On the recollection side, there are many musicians who have absolute recall for some pitches and not others; the most common example is the A to which orchestras tune. All these are forms of absolute pitch, because they all involve the capacity to produce or recognize some kind of pitch or pitch grouping reliably without any reference point. Most musicians cannot do any of the things described above. A "reference point," in this sense, is a previously sounded pitch whose name one knows. Given that, a different group of skills takes over, based on recognition of the distinctive sounds of different distances or intervals between pitches. These skills, which can be mastered by a far greater portion of the population, are often given the name "relative pitch" (though some use that term to describe absolute recall of a single note and the use of it to calculate others). The list of great musicians who did not have perfect pitch -- among them Wagner, Tchaikovsky, Furtwangler, Bernstein -- immediately precludes any notion that it is an essential component of musical talent, even at the level of genius. At the same time, it is clearly associated with talent; it occurs far more frequently among the musically gifted than among others. Dr. Profita estimates that about half of history's most famous musicians had it, as against 1 in 2,000 of the general population. Many Advantages, A Few Drawbacks Any survey quickly reveals that most major music directors today have absolute pitch, among them Mr. Levine, Claudio Abbado, Georg Solti, Riccardo Muti, Leonard Slatkin and Lorin Maazel. Interestingly, most of them play down its significance. Mr. Muti: "I have it, but it isn't necessary." Mr. Solti: "I do, but it doesn't really matter as long as the ear is good." Mr. Maazel: "I'm afraid I have it, but there is a degree of highly developed relative pitch that is essentially the same thing." Everyone concedes, though, that it is a great asset for rehearsing harmonically complex music, especially atonal 20th-century works. Very few people have relative-pitch skills so reliable that they can consistently detect minor orchestral errors in a score whose intervals are highly dissonant even when correct. "I don't really see," said one conductor who has perfect pitch, "how anyone could be secure about rehearsing 'Wozzeck' or 'Lulu' without it."
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