Pitch Perfect: Original Motion Picture Soundtrack is the official music for the 2012 film Pitch Perfect. The soundtrack was released digitally on September 25, 2012, and physically on October 2, 2012.[2] Three songs from the album charted on the Billboard Hot 100: "Cups" by Anna Kendrick, which peaked at number 6; "Bellas Finals" by the Barden Bellas, which peaked at number 85; and "Riff Off" by the Barden Bellas, the Treblemakers, and the BU Harmonics, which peaked at number 86.

Pitbull and Ne-Yo's "Give Me Everything," which has largely been known as a rap/pop club track, has been used in the first movie with some synchronized vocals; other tracks like Jessie J's "Price Tag" or Ludacris' "All I Do Is Win" have been styled to fit a live polyphonic performance. These songs, as well as a few others, helped to make the trilogy really iconic. However, which performances and scenes stood out the most?

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Pitch Perfect, along with Glee, brought acapella into the public eye and introduced viewers to a style of music that they may not have ever heard before. Even now, years later, the Pitch Perfect movies are well worth rewatching for their impressively catchy songs.

The result was an endlessly catchy flow of multiple songs chained together by their lyrics that showed the Bellas not only flexing their vocal chops but also their quick wit. While the riff-off was done again in Pitch Perfect 2 with an amazing cameo by the Green Bay Packers, it just couldn't capture the magic of seeing this type of event for the first time.

The Jessie J number was seen to be a relatable anthem as it seemed to perfectly summarize the Barden Bellas' friendship. With most of the characters graduating, there was a lot of anxiety about what the future would hold for each character and their futures. However, as the lyrics attest, the Barden Bellas had nothing to worry about since the group would not let any member go through this new and scary path alone; they'd work it out together.

The song is subtler in delivery and styling than most of Jessie J's soul-vocal-led songs. "Flashlight" is also one of the best covers in the Pitch Perfect series, and also makes it to the Bellas' World Championship setlist. It follows Beyonce's "Run The World" since it has a really upbeat tempo, and the lyrics are quite positive and hopeful.

The original number is repeatable and heady, which made it such a perfect pick for a final setlist, especially because it was followed by a lengthy rap sequence so a consistent tempo was crucial for the transition.

This is one of the most popular Pitch Perfect songs on Spotify, and for good reason. It's an unusual composition, the original composition obviously has a longer orchestration than the one in the movie.

The single by the Joe Jonas led-supergroup DNCE is one of the most danceable songs to have been featured in the franchise. However, the Bellas perform an impromptu version of the song during a car ride, and the track's potential for a full-scale acapella production hasn't been explored in the movie.

Every song that's approved for the movie goes through several stages. First, it's suggested by someone, be that Liz Banks (our fearless leader, producing and directing PP2), Jason Moore (PP's director and PP2's executive director), Julia Michaels and Julianne Jordan (music supervisors on both films), Ed or myself. We generate lists, we generate more lists, we discuss movie moments, and then at some point a song that everyone likes rises to the top. 

When that happens, the first step is to create a "cut down" which is just an edited version of the original recording, cut to the length it would be used in the scene (and if it's a mashup, roughly mashed up so we can hear the songs overlaid). Once that is approved, we create a demo. And when I say "we" I mean all of the arrangers, which beyond Ed and myself includes our frequent collaborator Ben Bram (with whom we work with on The Sing Off), studio singer & songwriter Alana Da Fonseca (many movies including Footloose), and musical theater composer/former collegiate a cappella singer Tom Kitt (Next To Normal, If/Then, etc.).

Each demo is completely a cappella, usually featuring just one person's voice, stacked up layer after layer. There are many songs that have made it to the demo stage but ended up not being chosen for one reason or another. Then once the song clears the final hurdle and is chosen, the demo needs to be expanded or contracted to be the proper number of vocal parts, and each vocal line (from solo down to bass) gets assigned to a specific singer, and a learning recording generated from the demo.

When asked for casting suggestions for Pitch Perfect, we recommended one excellent a cappella singer who we thought would be perfect for the Bellas: Kelley Jakle, who sang in the USC SoCal VoCals, and 2 groups in the Sing Off (The SoCals in season 1, and the Backbeats in season 2). 

Kelley made life far easier as our "ringer" within the group, both with her vocal skills and friendly, helpful manner. There's no question she's the backbone of the Bellas sound, so when it came time to figuring out our recording process for PP2, the first person to step in front of a microphone had to be Kelley, who we had flown into BR a week early to track her parts. 

In fact, she's so helpful that the other Bellas refer to her as "The Professional" as if she's some kind of a cappella out of a Quentin Tarentino film. For example, Britney might say, in Kelley's presence "I've forgotten how these two measure go"... can The Professional remind me?"

Office buildings are strange, each with its own quirks, and the home of the PP2 production offices is no different. In scouting for the perfect location for music rehearsals, which has to be far enough away from both the recording studio and the dance studio so we can't hear each other, it became apparent the perfect location was the employee break room on the second floor, which, with its red paint, terracotta tiles and lattice work resembles a small Mexican restaurant. 

So, I have named it appropriately: the "Aca-taqueria"

A commonly cited number is that approximately one in 10,000, or .01% of people, are thought to have perfect pitch. However, perfect pitch may actually be considerably more common: One recent review suggested that 4% of music students have the ability, and people with perfect pitch can be found in the general population, if you know how to look for them, according to Nusbaum, a leading expert on the science of auditory learning.

Nusbaum believes that whether a person has or can acquire perfect pitch may be a combination of their musical training and their general capacity for auditory working memory and perceptual attention. For example, while some people who were experimentally trained to memorize notes over an eight-week period ultimately achieved the same level of accuracy as those who naturally had perfect pitch, others did not.

Given the name of a piece I've heard reasonably recently, I can sing it in my head in the correct key, and with a little bit of fumbling, hum it or play it on a piano or violin correctly. I'm certain that I'm not cheating, but I can't do it without the fumbling, or without at least thinking very carefully about which pitch it should be.

Clearly whatever this skill is is quite useless (unless I liked to sing -- which I don't), but I've always been a bit curious about it. I don't think it quite fits under the definition of relative pitch, and it's definitely not perfect pitch, because I can seldom identify pitches when they're played without context. Something about pitch memory maybe?

I think what you are describing is known as "partial pitch". This is when the starting note of a well known or recent melody can be retained, or a note that's often played for tuning up purposes. I developed it myself for the pitch of my tuning fork, when after a couple of weeks practice I would not strike it all day, then test myself in the evening by humming the pitch and then striking the fork. I became much more accurate with just that note. I understand that violinists etc get this.

If you had perfect pitch you would be painfully aware of inaccurate pitch, which is why it's sometimes considered a bit of a curse. I am quoting a violinist acquaintance on that, by the way. You haven't mentioned this so I've presumed it's not something that bothers you.

My emphasis on that last part. We (people without perfect pitch) have to have a pitch to start from. If someone without perfect pitch picks that starting note, it's likely going to be not quite right (and I bet that you would notice that right away if you heard someone doing it), thus throwing the whole thing off.

With alot of practice, those lacking perfect pitch can often come very close to a particular note - which sounds like what you're referring to as "pitch memory" - (for instance, I can often come close to identifying G2 because it's close to the bottom of my range - I have a reference point!), but not with the certainty you've described - even with all the "fumbling" in the world.

For someone without perfect pitch, being able to come up with the starting pitch of a song would usually require conscious effort to memorize that pitch, or repeated exposure to the pitch over time (as mentioned in the comments) - although, the difficulty someone has with this task would likely vary from person to person.

Absolute pitch (AP) is the ability to produce or recognize specific pitches without reference to an external standard. People boasting AP have internalized pitch references, and thus are able to maintain stable representations of pitch in long-term memory. AP is regarded as a rare and somewhat mysterious ability, occurring in as few as 1 in 10,000 people. A method commonly used to test for AP is as follows: subjects are first asked to close their eyes and imagine that a specific song is playing in their heads. Encouraged to start anywhere in the tune they like, subjects are then instructed to try to reproduce the tones of that song by singing, humming, or whistling. Productions made by the subject are then recorded on digital audio tape, which accurately preserves the pitches they sing avoiding the potential pitch and speed fluctuations of analog recording. Lastly, the subjects' productions are compared to the actual tones sung by the artists on the CDs. Errors are measured in semitone deviations from the correct pitch. This test, however, does not determine whether or not the subject has true absolute pitch, but rather is a test of implicit absolute pitch. Where true absolute pitch is concerned, Deutsch and colleagues have shown that music conservatory students who are speakers of tone languages have a far higher prevalence of absolute pitch than do speakers of nontone languages such as English. For a test of absolute pitch see the Absolute Pitch Test developed by Deutsch and colleagues at the University of California San Diego. 0852c4b9a8

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