People can distinguish sound waves just as easily. The difference between red and blue is as pronounced as between C and C an octave higher.
To me this is the difference of black and white, or light blue and dark blue.
The difference between C and C# is not large, and people without perfect pitch are not able to distinguish these notes, just like we can't distinguish two similar shades of red.
Yes, but if you listen to the pitch quality, so to the 'colour' of the pitch, then this quality will be a lot different. If you can hear it. Sure, the notes will sound very similar because the frequency is very close. But when you hear the pitch like you see a colour then it is way different while an octave is exactly the same.
However, put next to each other, both the reds and the C's can be easily distinguished.
If this analogy is the correct one, what is pitch quality in colour?
BTW, sound perception is probably more accurate than color perception. We are all familiar with optical illusions that make us believe we are seeing a particular color, but that's not the case, because the surrounding colors/patterns are confusing us. I haven't heard anything as drastic as that in terms of sound.
Maybe because the average music is a lot less detailled than a view of the world. There is much more data comming from the eyes than is in a music piece.
So, in other words, it is quite possible to assign the 'ballpark' range of both sound (soprano, alto, tenor, etc.) and colors (red, blue, green, etc.), but naming the exact shade or pitch is not easy in either case.
I never said it was easy. It isn't. Otherwise everyone would have perfect pitch.
Quite frankly, I don't hear differences in the quality of individual notes, and I doubt that the majority of people do so.
I find this hard to believe actually. But I'll take your word anyway. I am either imagining things or I do have a the ability to learn perfect pitch without absurd amount of time. I will try to find out which one is true.
Now, you are talking about keys, not individual notes. It is the intervals that create different moods, and that only in unequal temperaments.
I am talking about the 'pitch colours'/pitch qualities of all notes of the key, in the right hierarchical amounts mixed together. So basicly a key will sound like its tonic note.
Anybody who claims s/he can feel different moods depending on the key in equal temperament either has perfect pitch and makes associations, or knows the key of piece somehow and makes associations, or is simply imagining things (which is the case for the majority of people).
Well, if you transcribe a piece to a new key, then it will sound very different. Not that a sad piece will start to sound happy. But it has a new feel to it, a new, I have to use the word, colour. Like it has a different texture. Eventhough the intervals are the same, the piece is now in a different part of the pitch spectrum. So the pitch colouration is different. Surely most people will notice it when their favorite piece is played in a totally different key. Or they will notice a sharp, but undefinable, difference between an unknown piece of music in totally different keys. But it does seem some kinds of music are less affected by this. The more big chords and rich harmonies, the bigger the difference. I guess tonality is also a requirement. But if you say I am wrong when I think most people observe this I am starting to doubt these ideas.
It's one of the biggest and most annoying myths in music (even worse than 'Hanon is good for you').
If you mean "D minor is the saddest key of all" then I can relate to that. But when we are talking about the pitch quality radiated by the music there is a difference. I have seen a big list with all kinds of feelings and other things assosiated by all kinds of keys. I am sure people are just assosiating things with keys based on experience or imagining things.
Maybe I am imagining things also. I also thought everyone knows in theory everyone can learn perfect pitch. Since it is required for some asian languages(either Thai, Vietnamese or both and probably some more too). Otherwise not all people would be able to learn the languages. That still doesn't mean every serious musican would benefit from spending time and learning this skill. I agree relative pitch is a lot more important.
I once listened to a sales talk by David Lucas Burge (of the PP Supercourse thingy, a waste of money btw). He compared listening music with PP to watching colour TV compared to watching black and white tv. I wonder about this. I have always felt that developing relative pitch is important for enjoying music. Could the same be true with PP? Since I listen a lot of Sorabji and other stuff, I could imagine perfect pitch would add a lot of detail to my listening experience, and thus enjoyment. Makes me wonder, even though David LB is a slick salesperson with a sweet tougue (are these the proper expressions?).