Have you thought about just writing all your tracks in C and transposing them to the key you like outside of the pattern editor. This can be really useful as you can give drums sharp notes in order to easily visualise them when you have drums and bass sharing one channel.

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That is neat. I have been making videos of all the scales. I used solfedge hand signals. I have designated a color to each note in hopes of having a way to remember pitch when using a movable do system. it would be really cool if i could get the community's help with something... I want people to go on my youtube and comment to each scale on what 'feel' they have of each scale. I want to refine this system and write about what people say. it would be really cool to get peoples opinions from different cultures, since this is so subjective. John Cotton wrote a book in the 1600's about emotions of gregory chant modes, but the book is probably sitting on a shelf in the university of ohio in dutch. Wish they could translate it and print me a copy.

It's interesting, but you don't have immediately access to the scales (by hearing them).
Why don't you use some lightweight musical notation such as the ABC ( https://en.wikipedia.org/wiki/ABC_notation ), this way you can store in a text file all the scales, and add some informations in the dedicated field?

For example for the first 2 lines of your document, it could be translated to:

X:1
T:Bebop Minor
M:4/4
L:1/4
K:C
N: mood of this scale
C D ^D E | F G A _B | c

X:2
T:Major Blues
M:4/4
L:1/4
K:C
N: mood of this other scale
C D ^D E | G A  c

(and you can see / hear them with this kind of online tool: http://www.mandolintab.net/abcconverter.php (copy and paste))

The only thing stopping standardization is my ti= your si. si is g#. what is solfedge for g# in europe? im not really worried about straying from fixed do quite yet. I have been sorting the scales out in to groups by key that allows each the most possible natural notes. also, I think keys being groups would be awesome for memorization of many scales. I think i have figured out why the key of F# is the worst for singers. I dont know much about the roman numerals. Nashville numbering system is really cool, I just dont quite know it yet. I am not so sure I want this to be about making something that can be used as a system to transpose existing works. I want to hear an aspiring musician use the bebop minor scale as the focus of a melody. I need to finish what was started so long ago. music history planted a bug in my mind that is only screaming louder. Fixed do has influenced music. it should only be used for the first year of training someone in music, not all the way into college theory classes.

This is bizarrely niche. If you've not had solfège training (which the majority of even formally trained musicians haven't) it's indecipherable. Especially as its implementation differs between countries and chromaticism hasn't been satisfactorily standardised.

If you wanted to make it pitch agnostic, use roman numerals, or just this:

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Slots with slashes have 2 syllables. the first is the syllable to sing out when ascending. the second syllable is sung when descending the scale.
Unless your in europe, then those would be different.

I've had no formal musical training/teaching, but it shouldn't be to hard for people to get this, especially with the black rows that make it obvious that it's piano keys. If it wasn't for them, I'd be dead confused about the "Di/Ra" atc bits though, and as someone who's only aware of the "wacky foreign set of note names from tousands of years ago" from the song in the sound of music (despite never having seen it) I think it might not be to easy for some.

if thats your method ok!

put in a couple of methods, hopefully you can see how it might work well (or not work).

Also, i wanted to organize them a certian way so that i can group them when i practice them on the guitar and sing the syllable as i play.

I am making ascending and descending (only 2 scales do that, right?). Your idea is another way to do it... make an entry your way after all of mine so i can see what you mean.
And thanks mr Barnes.

I don't know how helpful this will be to many people... as someone with a decent musical background i was stumped for a bit.

The most useful ways of doing it would be to have a column for each semitone and then black in the ones when that note appears in the scale. Also how are you dealing with scales which differ in the direction you play them?