Why be satisfied with “good” when you can obtain “better”?

According to the theory of Equal Temperament (as developed in the temperate scale which comprises an octave of 12 equal half-tone) which is widely accepted and taught, scales have been described in simplistic terms by juxtaposing intervals of a half tone, a tone, a tone and a half, a three-quarter-tone (in oriental music), between the notes of the octave, according to the key. Thus everyone or almost everyone, including music theorists, firmly believes that each note occupies one single position in the scale at a fixed interval. You might possibly maintain that this is an excellent simplification, in as far as it enables everyone to acquire a certain musical knowledge relatively easily, while musicians compensate for a lack of precision in musical theory concerning the pitch of sounds by having a ‘good ear’ when actually playing (if this is indeed the case!).

One must understand that every note can occupy several positions, depending on the tonality, and that the intervals vary in size consequently.

Thus for example, when we are in C major and we go from the G fifth to the F fourth, we can hear that :

♦ we play a bigger tone interval (maximal tone) than the ordinary tone which separates the notes C-D, as if the F were attracted by the third E (minimal semitone);

♦ this means that the descending major third, A-F is larger (maximal third) than the descending major third E-C;

♦ that the descending minor third F-D is smaller (minimal third) than the descending minor third G-E;

♦ and that the fourth C-F is smaller (weak fourth) than the ascending perfect fourth G-C, etc.

The tandem simplistic theory-good ear works more or less well. Only a very small minority of musicians reach excellence, in contrast to the vast majority of amateur musicians. Take, for example, the best opera singers. In spite of having a wonderful voice, a stunning interpretation, all of them may go through moments of weakness, doubt and perplexity in their performance because of such and such a note, or several consecutive notes which are not perfectly in tune. As the total result (their voice, interpretation, the emotion they bring) is nevertheless satisfactory or deemed satisfactory, why go any further?

I believe: Why settle for good enough when you can approach perfection?

What if there was a straightforward, easy, effective way of attaining perfect pitch every time and without any hesitation for the best musicians and especially for the others, who need it so badly?

In fact this way exists:

It is the “G system” which, thanks to its ability to precisely represent intervals at last, especially the half tone (22/21), offers the world its fantastic discovery of the positions each note may occupy (low, medium or high), according to the key. (see: Rules concerning positions).

Be reassured: it is an extremely simple system. I am neither a mathematician, nor a physicist, nor an IT expert, nor an acoustics expert… the simple logic which led me to discover the truth about intervals and the reality of positions, each one with its own expressivity which enables us to easily grasp it, is within everyone’s reach. With the spread of the G system, the vast majority of musicians will be able to reach perfect pitch, without too much effort.

Why be satisfied with “good” when you can obtain “better”?

For a computerized demonstration and audible illustration of System G intervals and perfect pitch, go to headings: “Western music playlist” and “Oriental music playlist”.