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I'm posting in teachers' forum because I'm pretty sure my answerers will be here.

I've seen some messages here and websites about solfege, movable do, etc.
And this: http://www.gootar.com/theory.htm

I think the idea here is to emphasize the 7 tone major (or minor) scale within the 12 tone octave.

Standard sheet music has the key signature giving the sharp/flat map and this indicates a 7 tone major or minor scale from a particular tonic key.

I'm trying to soup up my "pianoroll" music format.
(And also my "customized" standard notation coming soon)

I've got the pianoroll format I'm using showing durations ok now:

Err, that's kind of scrunched up, try clickin this:
http://pianocheater.com/img/pcheat_loop.png

But the way it shows the scale is pretty lame.
(that little diamond on the tonic key and
dots on the scale on top the keyboard)

I'd like to show key sig changes/modulations better.
In standard notation, you get a key signature change.
(or maybe you don't and end up with a bunch of extra #/b)

And I see the solfege systems use color for the scale tones.
(usually 7 colors, sometimes all 12 get their own color.)


Is there any standardization of these colors?

My plan is to color the 7 major (or minor) tones of the
scale with a background of the solfege colors
(and leave the accidentals dark/light grey
depending on black/white key)

So when there's a key signature change (modulation),
red is still the background of the new tonic key.

Hmmm, I'll have to come up with a picture for this...


My =MAIN= question, is:
Is there any STANDARD to coloring the 7 tones of the
scale? (That you've seen in any of your practice materials)

A tonic=red, dominant=blue, (7 of these) sort of description?

thanks very much!

Also, since minor scale has 3 different tones than major scale
(minor 3rd, minor 6,7ths)
Do those have 3 different colors? I'd think yes...

thanks again

The closest thing to a color standard is the Chroma-notes system used by Boomwhackers:

http://www.boomwhackers.com/

The question regarding minor depends on whether or not you want a la-based or do-based minor system. (Which depends on whether or not you're interested in chromatic solfege or letting the modes do the work.)

Thanks for the tips, Kreisler!

I wonder why they used cyan or whatever that turquoise color is for the
perfect 5th tone?
Instead of blue. I'd think blue would be better.

Anyways, I'll start investigating "chromatic solfege", "modes", and "la versus do" based minor system...:)

Yes, there is.

http://www.musanim.com/mam/pfifth.htm

You can find more information about this by searching google or such, but essentially, you just match the Circle of Fifths to the Color Wheel.

Hmmm, That's how Sibelius does it.
But I'm not sure that it's a STANDARD standard

I've already hit google and done my homework.
There's that boomwhacker's site Kreisler mentioned which is pretty
consistent (but not entirely) with many of the (differing) solfege explanations on the web...

I think I'm just gonna stick with
red orange yellow green blue purple pink
That way, I have all secondary colors plus pink - the oddball that leads to red:)

I can change it later if I find a better standard
Not sure which extra 3 to use for minor scale...
But, eh, I can change it when I like pretty easy.

This will probably be a good way to pick out dominant chords and such.
No matter the key, a tonic major will ALWAYS be red,yellow,blue

I could do that with my standard(-ish) notation when I get that done too.

I am color deficient, not completely color blind.

I can see the really bright ones, in good light.

I cannot distinguish shades. I have less than the normal number of red cones, so I can't make fine judgements. I can't tell the difference between many of your choices.

That may reduce the universal nature of your idea.

Progress!!

Since the octave has 12 tones, and the color wheel has =12= tertiary colors,
I'm gonna use STRAIGHT PHYSICS to map em

But tonic of key always starts at red. 5th is always cyan-ish blue.

It's not gonna use the solfege or boomwhackers color map, cuz, eh, sorry,
their mappings have errors.
Although, mmm, they are WAY more popular than mine.
I'll probably have to make that customizable eventually...


Here's how it looks: (oooooooo, pretty - gaaaaaah:)
http://pianocheater.com/etc/colorz.png

(make sure it's expanded to actual full size)

Little lines show down the "page" which of the white/black keys are
WHAT scale spot.
Starts on red=tonic, green=mediant(or M3rd or whatever), dominant=green.
finishes on pink (leading tone). Repeats on next octave, etc.

tonic bass'd major chord shown on keyboard here.
(this is part of the Beatles' "Let It Be".)

Does this look good to you?

It looks kinda WAY too busy to me,
but I'm gonna see if it grows on me...


Eventually, on modulations (or any key/scale change),
you'll see the colors shift over to the new key.

So when you go from c major to a minor,
M on c keys would change to m on a keys.
and you'ld see the new minor scale with the lines.
(red lines move to a keys)
and minor specific keys would be their special minor color.
the flat 3rd, etc.

I'm very interested in what a piano TEACHER thinks of this...
I'm too much of a newb...

also i have a question about the minor scale.

Now, i've read there there is natural minor, melodic minor and, mmm, was it harmonic minor?

They have a difference of the top 2 minor notes going major sometimes or somethin...

Are these to be considered part of the key?

I know in standard notation, the key signature is according to the scale:
w h w w h w w

And then you usually see some SO CALLED accidentals for the minor scale
variations, but you expect them since you're doing minor...

Any pointers on if I should include these steps in my "scale" when
the key signature goes minor?

Thanks much

Key signatures reflect the natural minor. Musical context determines the other two.

ok, and the musical context is ...

- harmonic minor includes M7 leading tone so your chords can "lead back to tonic"
- melodic minor is for ascending melodies (neeearly like major)
- natural minor is usually for descending melodies that proceed from tonic to dominant pretty evenly

Am I on the right track here?
I haven't played many minor songs yet, just "Love Story"
(g minor)

Thanks Kreisler, you are a WONderful help !!