Comment by duped

This is why solfege aka "movable/relative do" is better than chromatic naming for theory. Because "a fifth of what?" is trivial - its the fifth named pitch relative to another named pitch. And almost all modern music is not about absolute pitch but the relationship of intervals, either in a single voice sequence or across multiple moving voices.

The transition from absolute to relative pitch is like moving from basic arithmetic to algebra, once it clicks. Except that relative pitch is way easier to understand without notation, pick a reference and go from there.