so i have been toying around on those perfect pitch game websites. it all started out just really pissed off at these perfect pitch boasters. so i figured i would give it a shot. heh. i mean i use to be a gamer, and a gym rat, how hard can it be, i can do the grind. so here is how it goes.
i start out with the c natural scale.
solfege engaged. ok not to hard. but you start thinking what about those other dreaded tones. ok lets add them in. whoa cowboy big mistake. ok back track, lets just split the keys apart. much easier. wait what am i hearing? old mcdonald had a farm? ok wierd. low and behold its just f# major pentatonic clear as a bell. ok lets add the natural notes in since i am in f# major lets add b and f in. ok not to bad this is much clearer than c natural i will stick with it F# is my do, DOH! haha i dont care. i press on.
I always start F# major pentatonic but I start doing permutations with the natural notes all the way until all 12 tones are swirling around. So far i went from 20% will all tones to around 60-70%. the tritone seems to come in more clear the G, D, and E also. A is still hiding away from my grasp and trips me up. but basically these other notes exists, and remain hidden, almost dissonant if you will. but i mean they really arent, itâs just notes. but in my brain this is how i am trying to compute it as a whole for now. but i am wondering if this changes, only time will tell. when i noticed a huge uptick in correct answer percentage jump from 20-60 can sometimes go up to 80%, from when i began with all 12 tones is when i knew i was at least getting somewhere.
Ok now to the questions.
My sense of place sometimes can remain in center. If I am away for to long it like gets lost. Most times I am either on or a semitone off. This is just piano though I have been trying to not listen to outside sounds, even music, but if it happens so be it. But now here is the kicker am I just learning the major scale as a complete whole? my do, re, mi, fa, so, la, ti is the major scale sound with the rest of the tones thrown in. What if I changed do re mi fa so la ti to another scale? Is this what I should do? Do I leave Do as F#? lol so many questions. here is the solfege ear training regime i do, dont do this unless you want old mcdonald forever stuck in your brain and f# as do, rofl!
I basically know the black keys in my sleep thats easy for me but if it isnt for you well i would suggest work with the pentatonic first most likely will be c major pentatonic.
F# do
G# re
A# mi
B fa
C#so
D#la
F ti haha as joe pointed out this is E# thought this looked funny. just using the game to notate things.
so here i know these quite well, no hiccups. la will try to trip me up with re but this is going away the more i do it. and i always catch it, but it can hinder my speed.
so now to my method that i do
these notes are what i add into each training phase, they go into my f# major solfege. i know if i master these i could probably transcribe atonal monophonic stuff rofl! another thing to add in the beginning when i started it always felt like the natural tones and the black tones where modulating around in keys. it was only when i started to really cement do re mi onto F# major where i really started to progress in correct answers with all 12 tones active. oh and another method i was doing was leaving the lower tetrachord untouched, and adding all the tones in the upper tetrachord so 10 out of 12 tones. but that permutation should be in this group so i dont think about it and just stick to this list. furthermore to really start to know where the other tones reside outside the syllables if you sing up or down a semitone, and listen to your voice it helps to cement them for learning. cheating if you will, but its just to help with comprehending the location amongst the solfege syllables. with practice this becomes second nature, and you wont have to sing. oh and you can also practice internally singing inside your mind, even imagining the instrument note also helps, a semitone up or down on these notes outside the syllables. this is more difficult, but it gets easier.
so all the major scale solfege syllable notes and each group below is a different testing phase. currently i do about 50 questions. but it goes fast if the website advances after each guess. so you add the major scale and the notes on each number. so take out c and insert d for round 2.
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c
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d
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e
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g haha this note right here sounds so flat, and if it goes this note to the tritone it sounds like a cartoon
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a
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cd
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ce
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cg
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ca
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de
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dg
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da
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eg
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ea
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ga
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cde
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cdg
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cda
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ceg
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cea
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cga
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deg
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dea
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dga
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ega
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cdeg
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cdea
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cdga
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cega
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dega
or you can build up all the way and start from do so this first until you are 100% on everything before adding the above. you will likely have to transpose those notes above to whatever you use for do.
1.do
2.do re
3.do re mi
4. do re mi so
5. do re mi so la
6. do re mi fa so la
7. do re mi fa so la ti
beyond this i think it just amounts to hearing the clash of the notes as a whole and placing the remaining syllables on these notes. this might not get me perfect pitch, but i am gonna beat this game. haha. i started to put just do re mi in so f#, g#, a# and the harder notes g,a,c,d,e. just sticking to this for practicing on remembering the sharp syllables for now. i donât want to confuse myself with flat syllables, but it might require it if say the intervals descends or ascends i might have to train my brain with both flat and sharp syllables. and which you use for flat or sharp depending on if it ascends or descends on the frequency spectrum or the major scale? (like if you descend frequency wise, but ascend scale wise and vice versa). or i was also thinking to just make up new syllables that sound unique for easier remembering. but these solfege sylllables are so engrained i donât think making up my own at this age they are going to stick. but maybe thats just my analytical brain kicking in, and i should just do it. i always seem to make the biggest jumps when i get frustrated, start pressing the buttons,angrily, and then my brain relaxes back into it and i can go until i almost win. haha.
it seems like the longer my sessions go now the worse i get, but if i come back those inbetween syllables will punch out more on their place inbetween the syllables when i run 12 tones. sometimes i prefer the distance to be further its when the chromatic starts running around is when it throws me off especially with the di, ri, and si notes. the tritone fi and li dont trip me up very often.
ok this is going to be my new final method. i am going to be using tuner pitched app off android. i will use the note function to show note and octave. i will only use this for record purposes. i am going to play the game every note notate, i will notate what syllable i hear in my mind, and if i got it right. this way i can see if i find discrepancies or similarities on where i am getting off at, or if i can figure out where i am hearing these syllables in the wrong place in certain groups of notes that clash against my major scale solfege.
its like i could dissect it out for you guys and explain whats going on through tetrachord analysis.
this is major scale stuff, i am going to use solfege syllables to not throw things off. remember i am just consistently hearing major scale, and trying to listen for the other tones as it surrounds this sound to pinpoint the notes. i will be notating lower and upper tetrachords as other solfege syllables, and giving them a specific color just for ease of understanding. First to grasp why this is would be to follow my other thread about hearing tetrachords in a blindfolding setting, and first working only in white key territory. Starting out hearing the tetrachords, then being able to just hear the upper and lower tetrachord flavor after picking one random note. This takes maybe a day or two, but it doesnât take long. Then you will understand why this color association is actually right. not in the literal sense, but if you follow the structure of them you can see why the associate the term color to sound. I feel like the primary colors (red yellow and blue, still unsure of what to use for lydian tetrachord, because do and mi dont make fa. but for simplicity this is what i used. if you have a better suggestion let me know. maybe it would be better to use another color.) of this scale are Do, Re, and Mi simply because they both share the same tetrachords. Every other note is a mixture of these main colors. I am also notating Fa as the whole tone tetrachord or lydian** tetrachord or however you want to describe it. other than this i do not have perfect pitch, but i know there exists this ability, and it can be found if you test intervals in one key for awhile, and switch to another key. if you utilize solfege syllables, when you switch keys you will get thrown off. this perplexity in my mind is shifting from the absolute to relative. switching the syllables to the tonic of the key.
Major
Do Do/Do Red Major/Major
Re Re/Re Yellow Minor/Minor
Mi Mi/Mi Blue Phrygian/Phrygian
Fa Fa/Do Violet Lydian**/Major
So Do/Re Orange Major/Minor
La Re/Mi Green Minor/Phrygian
Ti Mi/Fa Indigo Phrygian/b5Lydian** (b5 because it falls on the flat 5, no tritone)
Out of bounds notes
Di
(Do sharp)
In between Do and Re
Do/Re and we simplify further
Do/Do-Re/Re
Red/Orange/Yellow
Ri
(Re sharp)
In between Re and Mi
Re/Mi
Re/Re-Mi/Mi
Yellow/Green/Blue
Fi
(Fa sharp)
In between Fa and So
Fa/So
Fa/Do-Do/Re
Violet/Red/Orange
Si
(So sharp)
In between So and La
So/La
Do/Re-Re/Mi
Orange/Yellow/Green
Li
(La sharp)
In between La and Ti
La/Ti
Re/Mi-Mi/Fa
Green/Blue/Indigo
I am listing this here so when I notate where I am being thrown off, to see if i can see maybe if it is because there is some tiny amount of color in the wrong answer compared to the right one.
This is why I feel like these flat and sharp syllables just wonât work. They are not unique enough, and share similarities with the in bound notes syllables as well as they all are âeeeâ. Or another thought I had was to experiment in higher note per octave microtonal music, listen to it for awhile like a few years, learn some stuff. then come back to see if i can hear where things are more clearly.
the more i do this the clearer the remaining out of bounds syllables become, sometimes i can hear the syllable makeup and its sharpness or flatness. other times i have just done it so much making mistakes and getting guesses that i can sort of feel my way through the woods until i find the meadow. wonât be long, i know i will beat it. 
i won! do i have perfect pitch haha hell no! but i beat it single note atonality! screw harmonic interval atonal game if one exists. XD!
I could see it having some merit on young kids. They are constantly singing âdohâ and itâs ALWAYS on the note C. Young minds are sponges and they may start associating the actual pitch with the syllable. Maybe perfect pitch follows naturally from there.