One of the most frequently commented upon characterizations of art, is how an artist uses color to achieve a certain effect. The word color, is often used to describe a feeling or impression that is experienced in the mind. Difficult as these are to describe, this is usually enough to give an idea of one’s personal experience to another, but the experience itself is left to be endured. No words can exactly depict the amazing inner thoughts and revelations that occur when we look at an artwork of our favorite artist. Similarly, they cannot precisely describe them when we hear music. The music needs to be listened to for full appreciation, and no literal description will ever bring that experience into our own.
So here we are faced with a dilemma. No amount of technical knowledge on the subject of absolute pitch will ever be enough to substitute the experience of it. No matter how much information one acquires from studying people with absolute pitch, there will always be the difference of using and not using the ability. The experience itself is the only valuable starting point in defining what the ability is. Anything before that is merely speculation and is conducive to opposing points of view.
From this point forward, the term "pitch color or chroma", should be clearly understood as referring to one’s own perception of the pitch and not to an extra quality in the sound itself. The way a pitch sounds today will not change; through practice one will become more cultured to subtle qualities in the pitch that the mind perceives when experiencing it. These qualities could be called colors, chroma, feelings, or even personalities. The definition is only accurate in the experience of these chroma, so what they are named is irrelevant.
Pitch chroma might be described as a delicate measure of aural perception that is found when listening to the inside of a pitch, and then reflecting inside ourselves. This musical perception extends vertically in the mind, as opposed to listening horizontally when hearing the relationships of pitches through the duration of time. In this respect pitch chroma is perceived instantaneously when a pitch sensation is triggered, and will always continue that way whether it is totally recognized or not.
Pitch is a natural element of perception which, with the exception of the clinically determined tone deaf, occurs in every individual. Tone deaf patients can not, at any time, distinguish a change in the pitch of audible frequencies and therefore hear every pitch as being the same.
If people wishing to learn this ability can hear differences in aural frequencies, they already perceive the chroma element of pitch. From this point it only requires practice to culture a solid understanding of past experiences with pitch chroma -- much like every other element of the musical ear.
Recognition of pitch is achieved by simply listening, and letting a pitch’s chroma come to the attention. Repetitive identification of pitch chroma, and constant comparing between other pitch chroma will present different patterns to our perception that we learn to consciously recognize. As people get more familiar with the different chroma of pitches, it will become more clear the exact meaning of pitch chroma. The gradual exposure to the different pitch chroma will let the ear slowly sort them out.
Keep in mind that this mental process is totally natural and requires little effort when listening. Do not try to hear the chroma as if they are something extra; they are already there when a pitch is heard. By trying to listen for them, effort is attached to the process which will put the attention on a different point, many times missing the chroma perception completely. Remember that these chroma are more like feelings and are very subtle. If something is perceived that communicates any difference between pitches, it is the chroma that is being heard.
During the initial stages of refining this awareness, the ability to recognize perceptions of pitch chroma correctly at times will be better and worse. This is completely normal. As long as one continues to listen to the chroma of pitch, one will become better at it, and will gain the experience needed to refine this perceptual understanding.
Culturing a habitual form of listening is a gradual process. It will occur when listening to pitches of varying chroma and, identification of these pitches by the individual, is performed on a regular day to day basis. When the ear becomes in the habit of listening to a pitch’s chroma, the ear can be exposed to more of them. Eventually one covers the twelve pitches required to be classified as a possessor of absolute pitch.
Learning twelve different pitch patterns, results in a single understanding of the audible range. By using this natural method of pattern recognition, the progress achieved by individuals will remain a part of their personal understanding of pitch chroma. Identifying the chroma differences between pitches with high accuracy will remain permanent after finalising a firm grasp on all the pitch chroma.
"To absolutely know one, is to know them all.", Clint Eckhardt 1996.