下面讲讲有关单一调式歌曲写作的调色问题。如果说一个音代表一种色调,那么,音乐上用的七个音,恰好相当于绘画中所用的七种颜色.旋律中呈现的主、属、下属三个调式骨干音,也相当于绘画中的红、黄、蓝三个主要原色.当我们为旋律调配色彩时,应该考虑到,每个旋律音由于地位不同,从而它们也是有主次关系的。大凡旋律上的那些重拍上的音,时值较长的音,或乐句、乐段等的终止音,以及处于音乐发展阶段的高潮音,一般都是旋律的骨干, Here to talk about the single tone song writing color problem. If a tone represents a tone, then the seven tones used in the music are exactly the same as the seven colors used in the painting. The main, genitive, and subordinate three-syllable dialects of the melody are also equivalent to the paintings Of the three primary colors of red, yellow and blue.When we assign colors to melodies, one should consider that each melody has its own primary and secondary relationship because of its different status. In general, those melody on the remake of the sound, the longer the sound, or phrases, music and other segments of the ending tone, as well as the climax of the music stage of development, are generally the backbone of the melody,