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Perfect Pitch Supercourse Audio, Cassette – August 1, 1983

ISBN-13: 978-0942542943 ISBN-10: 0942542940 Edition: Pap/Cas
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Product Details

  • Series: 6 Cassettes & Book
  • Audio Cassette
  • Publisher: PerfectPitch.com; Pap/Cas edition (August 1, 1983)
  • Language: English
  • ISBN-10: 0942542940
  • ISBN-13: 978-0942542943
  • Product Dimensions: 2 x 5.5 x 8.5 inches
  • Shipping Weight: 13.6 ounces
  • Average Customer Review: 3.2 out of 5 stars  See all reviews (8 customer reviews)
  • Amazon Best Sellers Rank: #6,405,345 in Books (See Top 100 in Books)

Customer Reviews

3.2 out of 5 stars
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Most Helpful Customer Reviews

9 of 9 people found the following review helpful By Truth on December 17, 2005
To summarize:

Start:

He talks about how wonderful perfect pitch is. It's so easy to get. It's very simple. Its magic. Its color, but not real color, its hearing color, also described as texture, and flavor. Each note has these.

Listener:

Uh ok. What am I supposed to be listening for?

Explanation:

You should absorb the note. Spend time with the note. Look for the notes flavor and color. Like, to me, the F note sounds twangy. When I was a kid I remember my piano sounding twangy. I wont give you anymore clues than that. You'll have to describe the characteristics of each note yourself. Each note has a unique characteristic.

Listener:

I knew that. If each note didnt have a characteristic it wouldnt be possible to differenciate notes. What should I do to increase my ability to find characteristics?

((several hours of listening later))

Explanation: Go with a partner have them play notes and try to identify them.

Listener: Mmm you didnt give any techniques besides playing non melodically and I was already training that before buying this thing. Guess and check isnt 100$ advice.

Explanation: Drugs(subtances, alcohol too) are bad. (says that for like an hour) If you can get 20 notes in a row with perfect pitch continue playing this tape.

David Burge has a wonderful way of using parallels and comparisons to waste your time. He gets to the point yes, but he continues saying the same thing for an hour without providing any more than guess and check technique looking for characteristics of the note.
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12 of 13 people found the following review helpful By A Customer on April 24, 2003
I've been trying David L. Burges' course now for several weeks.
The course comes with about 10 or 12 cassettes which contain about twenty something master classes. If your looking for answers on how to acquire perfect pitch, it's not here. Burges' philosophy is basically this: Let the pitches come to you....
Many of the exercises require a partner and as such your partner will play a tone on the piano, say any tone from C to F, and you must name it. Well, If I could do that, I'd have perfect pitch. As far as information, the whole course on perfect pitch can be reduced to one cassette. The rest of the cassettes waste alot of time with David recounting stories of his youth and perfect pitch stories. He even devotes a whole side of a cassette, explaining why drugs are not good to use. For the amount of money one pays for this course, he could have given more concise methods in attaining perfect pitch and less time with childhood stories and drug lectures. At no point is any magical answer or method given to create perfect pitch.
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4 of 5 people found the following review helpful By Jorge M. Rodriguez on April 24, 2003
Well, after spending several weeks on this course, I have been very disappointed. If your looking for an answer to perfect pitch, It's not here. David Burge's answer to perfect pitch comes down to this, Let the notes come to you... Alot of the exercises given in the course require pitch recognition with a partner. For example, you'll have your partner play a pitch, say from a C to an F anywhere on the keyboard and you must recognize it. Well, if I could do that, I'd have perfect pitch already. Furthermore, there are about 10 cassette with about 24 master classes. Many of the classes and most of the time is wasted in David relaying old stories about his youth and perfect pitch stories. Nothing there of any value you can use. He even goes as far as dedicated a whole side to a cassette to explain why drugs are no good, especially for perfect pitch. The whole course of information relating to perfect pitch can be reduced to probably one cassette. The rest of the time it's just babling and rhetoric, nothing to do with what we're trying to achieve. For the amount of money spent on this course, I really wish David could really give answers and methods to finding perfect pitch instead of stories about his life and free drug lectures. If you want to try David's exercises you can go to [website] and try similar exercises on your own time and save your self a ton of money.
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1 of 1 people found the following review helpful By Peter Pawinski on March 28, 2014
I bought this course way back in 1991. I got an after-school job cleaning up the teacher's lounge as a sophomore in high school so I could earn the hundred bucks it cost back then to get these tapes. And once I got that hundred bucks, I quit the job. So that's how motivated I was to get this course. I wanted to learn the secret behind absolute pitch and the ability to name and recall pitches at will, without a reference point.

The long and short of it is, it didn't work for me. I religiously worked my way through the course, only in the way a teenager with nothing but time on his hands and passion for his music could do, and while I still remember those early F# and Eb flat lessons this course starts with, and I seemed to have some success with that, it never truly stuck. I might remember those pitches for a day or two after listening to the tapes and playing the piano, but with any extended time away from known musical reference points, I could not reliably remember pitches.

So why did I give 3 stars? At the very least, the course did make me more sensitive and aware of pitches, and I think I have an idea of what people who have absolute pitch hear when they can identify pitch color. There is some sort of characteristic quality, like a "twanginess" to an F# or a "mellowness" to an Eb that is clearly distinguishable. While initially I thought I heard some of these tell-tale qualities to individual notes, I found that I was more responding to timbral quirks of my own instrument, so that characteristic "twanginess" of an F# on a piano, I didn't hear in a guitar or a flute, and even with other pianos, I'd hear that character in other pitches, so I couldn't distinguish them.
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