Pitch is word use in various field, like in Sports, Music.

The note A above middle C played on a piano is perceived to be of the same pitch as a pure tone of 440 Hz, but does not necessarily contain a partial having that frequency. Furthermore, a slight change in frequency need not lead to a perceived change in pitch. In fact, the just noticeable difference (the threshold at which a change in pitch is perceived) is about five cents (that is, about five hundredths of a semitone), but varies over the range of hearing and is more precise when the two pitches are played simultaneously. Like other human stimuli, the perception of pitch also can be explained by the Weber-Fechner law. Pitch may depend on the amplitude of the sound, especially at low frequencies. For instance, a low bass note will sound lower in pitch if it is louder. Like other senses, the relative perception of pitch can be fooled, resulting in "audio illusions". There are several of these, such as the tritone paradox, but most notably the Shepard scale, where a continuous or discrete sequence of specially formed tones can be made to sound as if the sequence continues ascending or descending forever.

The note A above middle C played on a piano is perceived to be of the same pitch as a pure tone of 440 Hz, but does not necessarily contain a partial having that frequency. Furthermore, a slight change in frequency need not lead to a perceived change in pitch. In fact, the just noticeable difference, but varies over the range of hearing and is more precise when the two pitches are played simultaneously. Like other human stimuli, the perception of pitch also can be explained by the Weber-Fechner law. Pitch may depend on the amplitude of the sound, especially at low frequencies. For instance, a low bass note will sound lower in pitch if it is louder. Like other senses, the relative perception of pitch can be fooled, resulting in "audio illusions". There are several of these, such as the tritone paradox, but most notably the Shepard scale, where a continuous or discrete sequence of specially formed tones can be made to sound as if the sequence continues ascending or descending forever.

Pitch accent is a kind of accent system employed in many languages around the world. In a pitch-accented language, there is one tone-accented syllable or mora in a word, the position of which determines the tonal pattern of the whole word. This is unlike the situation in tone languages, where the tone of each syllable can be independent of the other syllables in the word.

In music theory, pitch spaces model relationships between pitches. These models typically use distance to model the degree of relatedness, with closely related pitches placed near one another, and less closely related pitches placed farther apart. Depending on the complexity of the relationships under consideration, the models may be multidimensional. Models of pitch space are often graphs, groups, lattices, or geometrical figures such as helixes. Pitch spaces distinguish octave-related pitches. When octave-related pitches are not distinguished, we have instead pitch class spaces, which represent relationships between pitch classes. Chordal spaces model relationships between chords.

The relative pitches of individual notes in a scale may be determined by one of a number of tuning systems. In the west, the twelve-note chromatic scale is the most common method of organization, with equal temperament now the most widely used method of tuning that scale. In it, the pitch ratio between any two successive notes of the scale is exactly the twelfth root of two (or about 1.05946). In well-tempered systems, different methods of musical tuning were used. Almost all of these systems have one interval in common, the octave, where the pitch of one note is double the frequency of another. For example, if the A above middle C is 440 Hz, the A an octave above that will be 880 Hz.

In atonal, twelve tone, or musical set theory a "pitch" is a specific frequency while a pitch class is all the octaves of a frequency. Pitches are named with integers because of octave and enharmonic equivalency. Discrete pitches, rather than continuously variable pitches, are virtually universal, with exceptions including "tumbling strains" (Sachs & Kunst, 1962) and "indeterminate-pitch chants" (Malm, 1967). Gliding pitches are used in most cultures, but are related to the discrete pitches they reference or embellish.