Music tone identification method related with apparatus, notation, and instruments

A music tone identification method with related apparatus, notation, and instruments for past, present, and future musical notes. Each tone note body, character, picture, song word, song letter, or song syllable has unique identification comprised of color, shape, shading, and lines. A song comprising the tone notes has a colored bar at beginning and at end to indicate its key. Each of twelve musical tones within a level of scale is sung by a vocalized alphabetical tone name. Each rigid vibrator has its tone identified by means of a unique colored sticker or coating for sight ahd sound recognition. Each tone of a musical instrument may have its corresponding playing surface identified by an identification colored sticker decal or coating. Each tone of an electronic oscillator, generator, and tuner that is received or generated is identified by illuminated opto electronic display, sticker decal, or coating comprising the identification method. A process of operating a computer software graphics program comprises musical character notation by means of the unique identification method. Dance steps comprise position, color, and shading of footprints corresponding to the music tone identification method to identify tone notes for dance steps.

DETAILED DESCRIPTION OF THE INVENTION This unique identification method of tones is taught by means of songbook, and is used in combination with tone identification stickers, colored pens, an electronic tone oscillator or tuner, musical instruments, singing, and wind chires. Pens with colors of ink that correspond to tones in a scale are used for music composition. The identification stickers may be attached to, coated on, or integrated with fingers, tune sheets, fingerboard of musical instruments, teaching devices, charts or boards, pipes and reeds, rigid vibrators, strings, vibration detectors, electrical oscillators or generators, and computers. The songbook uses the identification method on instruments in exercises beginning with a few distinct notes, to more difficult songs that extend beyond one level of scale. Each practice and song may be illustrated in more than one key to accommodate different instruments and voices. FIG. 27 illustrates a typical teaching method that combines singing, right and left handed instruments, notation, dancing, stickers, composition, and tuning. A musical tone note is a character of a tone, duration, and accent. Each tone note is assigned a unique color and shape character combination or body that differentiates it from all other 167 tones in all levels or units of a scale. It does not require a staff with lines and spaces, sharps, flats, naturals, treble clef, bass clef, or bar measures, but it may use them. Morris Powley tone notes do not need a staff, flats, or sharps, as they have independent identities and can stand alone to represent a tone. Morris Powley tone notes do not need measure bars to indicate accent, as their stem or size indicates accent. An identified tone note is comprised by a color or combination of colors as shown in FIGS. 1 to 13 . It's duration may be comprised by body shape as shown in FIG. 13 , or by space interval between centers of words as shown in FIG. 14 . Its accent or stress may be comprised by color contrast of stem, or size of note body as shown by FIG. 27 . There are twelve preferred embodiments of tone notes as shown by the Morris Powley tone note scales with one embodiment in each of FIGS. 1 to 12 . The embodiments may be used at the discretion of the music composer to indicate which instrument or which voice is to be used. Unique identification is used for one hundred and sixty eight tone notes in a scale comprised of fourteen levels, each level containing twelve distinct colored tone notes, as shown in each of FIGS. 1 to 12 . The tone notes have twelve preferred embodiments for instruments, notation, singing, and footprints. The comprise a character with colors, shading, and lines above or below; and scale name located underneath each embodiment. The notation method includes the following: 1. Use of the Morris Powley tone notes, transposed or superimposed, on diatonic, dodecaphonic, pentatonic, chromatic, Espla, or microtonal scales. 2. For the identification method by simple alphabetic letter of chromatic sharp notes and flat notes, the typical colors are as follows for each level of scale: C is light orange, K is dark orange, D is light yellow, L is dark green, E is light green, F is light blue, M is dark blue, G is light grape, H is dark grape, A is light brown or taupe, J is dark red, B is light red. This is illustrated in FIG. 14A for dodecaphonic tone notes, FIG. 14B for typical song words, FIG> 14 C for alphabetic note names, FIG. 14D for typical song words using a black background, and FIG.14E using a white background. 3. Notation for instruments of different pitch, such as the Scottish Highland bagpipe which have the note tones C″ and F″ slightly higher in tone may be accommodated by the composer using a symbol with the embodiment. For a typical example, see slider member 2 in FIG. 25 where a plus symbol is used in combination with embodiments C″ and F″ to indicate their slightly higher tone. Any past, present, or future musical sound tone can be represented with a symbol, shape, bird head, animal head, human head, picture, word, syllable, or letter by using the Morris Powley tone note scale. Typical embodiments 1a, 1b, 2a, 2b, 3a and 5a, 3b and 5b, 4a, 4b, 6a, 6b, 8a, 8b, 9a, 9b, 10a, 10b, 11a, 11b, 12a, and 12b of the Morris Powley tone note musical scale are used for notation, for playing surfaces of instruments, for singing, and for dancing. Circles within an embodiment are an identification of duration of a tone note. A circle within and no stem indicates a whole note. A circle within and a stem indicates a half note. These embodiments are designated 1b, 2b, 3b, 4b, 5b, 6b, 8b, 9b, 10b, 11b, and 12b and are illustrated in FlG. 13 . A morris Powley tone note character with a stem, no flag, and no circle or mouth indicates a quarter note. 13/27 As regards other embodiments, if Morris Powley tone notes are superimposed onto a black background, then black outlines, black flags, and black stems would become a lighter color, tone color, or white in order to be seen. Colors may combine with black or white or note body color for reasons of variety, quality of paper, brightness of ink or paper, contrast, and composition. Typical color for pipe and reed instrument notation and fingering is illustrated in FIG. 15 by a typical wind instrument with closed holes colored for tones in eighth and ninth scale levels in the keys of C and G. Note: When wind instruments are overblown, they may generate other tones. 15/27 Scale names of a philosophical scale with number of vibrations per second and their close relationship to Morris Powley tone note method is illustrated in FIG. 17 . However Morris Powley tone notes do not have a set number of vibrations per second, but rather will vary slightly depending on temperature, tuning of an instrument, composer, and conductor. As instruments warm up, they change tune. The conductor of an orchestra may decide on the exact number of vibrations and its tone name. 17/27 A split view comprising a typical method of dividing a string into dodecaphonic tones is illustrated in FIG. 20 by the example of the fourth string of a tenor banjo. 20/27 FIG. 21 A split view illustrating, by means of Morris Powley tone note identification, a method of color identification for relationships between tuning open strings on various instruments including the following: violin, mandolin, ukulele, baritone ukulele, lute, five string banjo, cello, viola, tenor banjo, guitar, bass guitar, and double bass. 20/27 The method of designing typical stickers for instrument playing surfaces is illustrated in FIG. 19 . 1927 FIG. 19A is for bass guitar; FIG. 19B is for guitar; FIG. 19C is for keyboard or piano; FIG. 19D is for fingers; FIG. 19E is for five string banjo; FIG. 19F is for violin; FIG. 19G is for tenor banjo or viola; FIG. 19H is for mandolin; and FIG. 19I is for ukulele. Identification tone notes may be temporarily or permanently attached or integrated into musical instruments by means of stickers for Morris Powley tone notes. They may be attached to right and left handed musical instruments including guitar, bass guitar, lute, mandolin, five string banjo, tenor banjo, and ukulele, and banjo as shown in FIG. 14 , violin as shown in FIG. 11 and cello and viola as shown in FIG. 10 c and may be attached to fingers as shown in FIG. 10 b. The music tone identification method comprises the use of stickers or coatings on instrument fingerboard to to identify a tone. FIG. 22 illustrates a typical method for instrument tone identification comprising typical identification stickers of Morris Powley tone notes on fingerboards of stringed instruments. It illustrates how to place fingers and unique identification stickers on playing surfaces of right and left handed stringed instruments: 21/27 FIG. 22A has typical examples of chord illustrations for right handed stringed instruments in the keys of C or G 7 by the following instruments: bass guitar, guitar, lute, mandolin, five string banjo, tenor banjo, and ukulele. FIG. 22B has typical examples of chord illustrations for left handed stringed instruments in the keys of D and A 7 by the following instruments: bass guitar, guitar, lute, mandolin, five string banjo, tenor banjo, and ukulele. Identifying tone note stickers may be placed on fingers of both hands for playing the keyboard or piano as shown in FIG. 27 . The slider is used for music composition and learning music scales. Slider member 2 in FIG. 25 when printed on transparency film, forms viewing ports for keys of various scales including the following: Major, minor, Pentatonic Major, Pentatonic minor, Blues, Jazz minor, Harmonic minor, Diminished, Locrian, Phrygian, Dorian, Hungarian Gypsy, Mixolydian, Lydian, Skip a tone, Scottish Highland bagpipe, and Invent your own musical scale. 25/27 Slider member 1 in FIG. 26 , the moveable inside sliding member, comprises an embodiment 1a of Morris Powley tone notes combined with their scale name. 26/27 By sliding member 1 , the composer can determine or invent the scale and the key of the scale. FIG. 27 illustrates a typical method for musical training using Morris Powley tone notes. The illustrations comprise typical structure of the new notation method with some embodiments intermingled with older methods. The example song is “Shave and a Haircut” in key of C. Typical identifying stickers are on some right and left handed stringed instruments. The dark color of the note stem and larger size indicates a strong accent on note C′ first and note C′ second and a medium accent on A. The claimed vocal singing notation is combined with present popular notation. Embodiment 1a is used for violin. Embodiment 2a is used for mandolin. Embodiment 3a is used for banjo. Embodiment 4a is used for guitar. Beneath each note is the corresponding scale name, tonic solfa name, alphabetic note name, and song word. Musical notes in the key of C comprise a dark background and good composition. Color illustrates good composition by the last note of the song being the same color as the colored bar at the beginning of the song. A tuned wind chime trains the ear for the tones in the song “Shave and a Haircut” in the key of C′. Also shown are typical Morris tone notes with embodiments 1b and 1a. Computer software graphics programs do comprise Morris Powley tone note scales with embodiments one to twelve for musical character notation identification and are used in FIGS. 1 to 27 . Morris Powley tone notes may use a flag, hole in the center, stem, rest, or half duration dot to comprise duration to present popular notation, or they may use space intervals between embodiments for duration. FIG. 24 is a typical identification method for vocal names of singing. FIG. 24A is an illustration comprising the typical means of tone identification for mezzosoprano singing, using scale names, tonic solfa, and alphabetic note names. FIG. 24B is an illustration comprising the means of tone identification for female and male alto singing. FIG. 14C is an illustration with white background comprising the means of tone identification for tenor singing. FIG. 14D is an illustration with black background comprising the means of tone identification for tenor singing. An identified song word, syllable, or letter tone is comprised of a color or combination of colors as typically shown in FIG. 7 , it's duration is shown by the degree of space interval between centers of words; and its accent or stress by word size or color contrast. FIG. 14 illustrates the method of singing of alphanumeric letters, syllables, and words by means of corresponding to the Morris Powley tone note scale. FIG. 14A has twelve distinct colors for dodecaphonic tone notes with their associated note names C, K, D, L, E, F, M, G, H, A, J, and B. FIG. 14B has twelve distinct colors for typical song words. Examples shown are; Love, War, Silly, Lap, Ed, Maw, zoo, bud, hoe, ail, Joe, and Be. FIG. 14D illustrates the method of using typical song words with a black background, accent size, and duration space intervals, with light orange colored bars at the beginning and end of the song to indicate the key of C. This is a typical method comprising colored and shaded song words, syllables, or letters. FIG. 14E illustrates the method of using typical song words with a white background, accent size, and duration space intervals, with taupe or light brown colored bars at the beginning and end of the song to indicate the key of A. This is a typical method comprising colored and shaded song words, syllables, or letters. Twelve alphabetic songster tone names with the vocal names Cee, Kay, Dee, Law, Ee, Faw, Moh, Gee, Hoh, Aa, Joh, and Bee comprise the means of vocalizing the twelve note names C, K, D, L, E, F,M,G,H,A,J,and B. There are twelve distinct colors for the twelve alphabetic tone names as shown in FIG. 14C . The method of identification of a unique tone of a rigid vibrator by sight and sound is by means of the Morris Powley tone note scale. FIG. 16 shows typical lengths of rigid vibrators with unique identification attached or coated on the bodies. They may be hollow or solid, and may be metal, wood, plastic, or ceramic. Uniquely identified rigid vibrators are used for voice training to sing in tine. Tuned wind chimes that have unique identification for their tones produce specific tones as an aid to mental memory for tone recognition. See FIG. 16 A, FIG. 16 B, and FIG. 16C for examples of uniquely identified rigid vibrators. FIG. 16A is a three dimensional view of typical rigid vibrators for the ninth and tenth levels of the dodecaphonic or twelve tones scale. FIG. 16 B is a typical rigid vibrator with optional holes for support. One or two holes may be comprised. FIG. 16C illustrates a typical wind chime with tone identification attached or coated on. While wind chimes are typically constructed by using four to six rigid vibrators, this illustration has five uniquely identified rigid vibrators, C″,E″, G″, C′″, and E′″. FIG. 18 is a typical example of instruments illustrating the method of their playing surface being identified by means of corresponding Morris Powley tone notes on the following instruments: guitar, bass guitar, ukulele, baritone ukulele, ten hole harmonica in the key of C, breathing out, flute, keyboard or piano in a split view. The method that electronic oscillators, generators, and tuners display identified tones in a simple manner at a reasonable economic price to the general public is by means of the Morris Powley tone note scale. FIG. 23 illustrates a typical electronic oscillator, generator, and tuner for identifying, importing, exporting and displaying tones by means of using the Morris Powley tone note identification method. A typical top view of component layout in FIG. 23 a is a microphone sound pickup, speaker, electronic oscillator and integrated circuits, variable frequency tuner and switch, battery power supply, automatic power down circuit, pushbuttons for operation, external input output ports, and illuminating opto electronic display panel to show colored scale notes. Morris Powley tone note identification by means of a light display panel connected to an electronic oscillator and computer is used for quick tuning, tone recognition, and composition. This display is typically illustrated in FIGS. 22A and 22B . An color light display with corresponding colors to Morris Powley tone notes may also be attached directly to a computer or a musical instrument. Colored footprints are used for dancing. The color of footprints correspond to tone notes of a song for dance steps, and position of footprints illustrate position of feet. FIG. 27 illustrates typical colored footprints comprising dance steps. The teaching method of using colored footprints for dance steps that correspond with tones is by means of the Morris Powley tone note scale in FIGS. 1 to 12 , footprints in FIG. 14 F, and typical example in FIG. 27 . Accordingly, the reader will see that colorful, shaped music notes can be used by even the very young to quickly learn how to read, sing, play, and compose music. Colorful music promotes the growth and myelization of brain axons in three and four year old children increasing their spatial temporal reasoning. It permits old fiddlers who can't read music to learn. It allows many left handed persons to seize the opportunity to play a stringed instrument It opens a new world for many people and provides happiness. There are various possibilities with regard to using this new invention in combination with electronic music. New microtonal scales will be invented. Music instruction will change. It is hoped that Morris Powley tone note identification, teaching, playing, dancing, and notation will enable inventive and adventurous musicians to stir the chemistry in animal, vegetable, mineral, and man. Although the description above contains many specificities, these should not be construed as limiting the scope of the invention but as merely providing illustrations of some of the preferred embodiments of this invention. Thus the scope of the invention should be determined by the claims and their legal equivalents, rather than by the examples given. Having described the invention above, various modifications of the techniques, procedures, material, and equipment will be apparent to those in the art. It is intended that all such variations within the scope and spirit of the appended claims be embraced thereby. Modifications and variations may be made to the embodiments without departing from the spirit or scope of the invention as defined in the attached claims.