Learn perfect pitch in 15 years

Original Article ↗ Hacker News Discussion ↗

Claims that adults can “learn” perfect pitch over many years prompt extensive debate over what absolute pitch actually is and how it differs from well‑trained relative pitch. Commenters share experiences from classical and pop music, ear‑training, language learning, and even pharmacological studies, with many arguing that most trainable skills are really high‑level relative pitch or pitch memory rather than true, effortless note naming. Several note that absolute pitch can be as much a nuisance as an asset—especially when tuning varies or drifts with age—while consensus forms that interval recognition and relative pitch are far more broadly useful for musicians.

Definitions and Misconceptions

  • Repeated distinction between:
    • Absolute/perfect pitch (AP): instantly naming any heard pitch without a reference, across sources (instruments, environmental sounds).
    • Relative pitch (RP): identifying intervals and keys once given at least one reference note.
  • Several commenters argue the article mostly describes highly trained RP or “pseudo-absolute” pitch, not “true” AP.
  • Others counter that abilities exist on a spectrum, not a binary, and that learned AP-like skills should still count functionally.

Trainability and Critical Period

  • Many claim robust AP cannot be acquired in adulthood; studies to train AP past early childhood are reported as largely unsuccessful.
  • Others point to:
    • Earworm research suggesting many people can recall songs in correct keys above chance.
    • Children trained early (e.g., under six) who appear to acquire AP.
  • One view: adults mainly develop strong pitch memory anchored to known songs, keys, or instruments, not innate AP.

Practical Value vs. Drawbacks

  • Several musicians say AP is mostly a party trick; RP plus a reference note covers nearly all practical needs (transcription, arranging, sight-singing).
  • Others list benefits:
    • Faster reading, transcription, composing away from an instrument.
    • Quickly identifying keys and chords.
  • Downsides frequently mentioned:
    • Constant awareness of out-of-tune pianos, ensembles, recordings, DJ tempo changes.
    • AP “drifting” with age or with frequent exposure to non‑440 standards, leading to distress.

Training Approaches Discussed

  • Interval training (using well-known melodies for each interval).
  • Associating keys/notes with familiar songs and building key-based playlists.
  • Singing/choral work as powerful ear training.
  • Practicing tuning by ear with a tuner as feedback.
  • Opinion divided on whether such methods create “real” AP or just excellent RP.

Context: Timbre, Language, and Neurology

  • Instrument-specific “pitch recognition” often tied to timbre and kinesthetic feel (e.g., clarinet, cello).
  • Discussion of Japanese pitch accent and Mandarin tones as analogous pitch-learning challenges.
  • Noted correlations between AP and autism; some see AP as akin to synesthesia-like perceptual differences.

Tuning Systems and Microtuning

  • Thread notes that A=440 and 12‑tone equal temperament are conventions, not universals.
  • Some criticize equal temperament as harmonically compromised and point to microtonal systems and just intonation; others remain unconvinced of their practical musical superiority.