FIELD OF THE INVENTION The present invention relates to a system for providing a color coded music notation. In particular, the system convert precise play signal obtained between a musical device and instrument as flowing notewaves illustrating a pitch in a musical order. BACKGROUND OF THE INVENTION

Music is written with frequency measured points called notes on scales, that have varying sequences of intervals, for example: w = whole notes or h = half notes, between them with a key note (DO) around which, all other notes have an affinitive frequency relationship, called 'solfege' having Do, Re, Mi for Western music or Sa, Ri, Ga, Ma for Sargam Indian music equivalent to solfege. Figure 1 illustrates major/minor scale formation, where 'Fixed DO' natural minor, flattens MAJORS Ml, LA & Tl while maintaining the same root 'tone' of the MAJORS keynote 'DO'. Minor 'Movable-Do' natural minor, uses the same notes as majors, but uses MAJOR'S 'LA' as the keynote 'DO'. For example:

Major scale intervals - w.w.h.w,w,w,h

Natural Minor Scale intervals - w.h.w.w.h.w.w

Where, (w) = Whole-Note (h) = Half-Note

The text may use 'UPPER' case (capitals) Majors and 'lower'-case (non-capital) for minor's as a standard.

Mainstream western music today is read on line-space staves grouped into clef's with accidentals, sharing the lines and spaces, which is cumbersome to pin the ever-changing solfege, which in the light of computers and electronics, hinders meaningful attempts to ease the flow of music into user friendly digital form, to be read and understood by beginners and professionals alike.

Scripting over the ages has evolved to the acceptable line-space staves used today, to accommodate the variables ^' of music movement as practically as possible, with the use of clefs (pitch alignments) over different octaves, for various instruments, with accidentals, and a host of symbols that are complex, which would now seem irrelevant with the 'paperless' age of Audio-Video computerized systems.

Figure 2 illustrates a conventional clef formation for a keyboard musical instrument. Since notes an octave higher or lower, falls on an alternate line or space, it requires clef adjustment with the often used 4 ^th octave written, for the keyboard on a notation space created above the 3 ^rd octave (F/Bass clef) and below the 5 ^th octave (G/Treble clef) linking two C-4's (Alto) in a most uneasy manner to grasp fluently, while playing or reading up and down on different keynotes, while many instruments and vocals(around C-4) use the 'movable' - C clef to accommodate this 'discord' in scripting and needs added ledger lines beyond the octaves. Although the structure is undoubtedly time tested as accepted in the form we know today, the age of computers and touch screens, provide amazing opportunities to propel music smoothly to new heights.

Therefore, there is a need for a novel method to enjoy learning and playing music, where the grasp of music theory, in good time, can start almost instantly, with an Audio-Visual (A/V) notation system, using a plurality of colors and graphics to flow and illustrate music movement precisely, that conventional scores have been ambiguous about and be data transferable between keynotes, octaves scale system and instruments on a level playing field. Summary of Invention

The system of notation illustrating pitch in a color coded musical order, converts precise play signal obtained between a device and musical instrument as flowing notewaves on grid registered play location in pitch/solfege definition for audiovisual communication includes:

(i) Pitch represented half-note divisions in octaves, preferably with fixed mellow tinted colors, with graphic representation for Sharps/Flats of the pitch alphabets A-G to be read up/down the entire pitch ranges, (preferably with 7 colored and 5 non-colored half-notes division for a diatonic scale with different combinations for other types of scales) using no symbols, added ledger line, clefs or accidentals that now illustrate the raised or lowered (augmented or diminished) notes on plain graphically represented half note color-coded staves, frets or segments with the solfege colored note-waves that able to skip the divisions. Preferably, the pitch represented divisions is of 12 half-note stave, fret or segment divisions in octave, is digitally coded to be translated in the mode of required presentation, across the system by a standard grid registration of play location.

(ii) Scrolling or shifting to position a standard colored keynote 'DO' for any scale into a 'centralized' position by shifting the half-note division to align the solfege colored notewaves that are to run on them to be recognizable in the same color and related positions on the staves, frets or segments (varying marginally by the type of scale intervals) to be graphically shown on the connected fingerboard's display simultaneously and in some cases having the solfege notewave scrolled or shifted on fixed pitch staves displayed above a keyboard for easy sight-reading of the running note waves down into the playtime axis line. (iii) Segmented wave-lines represented as notes in the standardized colors for the solfege syllables DO, RE, Ml that show the volume by the stretch, of each segment and the duration by the length (number of segments), that preferably have gaps between them, to facilitate overlapping wave-movements and is the common graphic representation to flow a data in variable ^' keynotes octave, scales in graphic, colors, proportions for different usages on keyboard staves or fingerboard frets, wind instrument segments on related medium displays, showing music movement precisely by the registered pitch grids played upon. (iv) Axis line, to notify on screen the play time, which is simultaneously relayed to a connected instrument's fingerboard or screen-board preferably as an attached white volume bar as a standard feature to identify the play time location in the appropriate volume. (v) Fingering-Grid display medium, applied differently by the connected instrument's features, according to the mode of the various instrument's connectivity, for keyboards, screen boards, violins, guitars, flutes, trombones etc. which can basically show, where and when to finger the notes, as shown on the staves or frets or colored segment lines, by common grid readings registered with the computer, which can also relay, the notes touched frets on the fingerboard display's touch screen grids or keyboard's key location grids, or wind instruments microphone sensor grids back to the computer screen's staves via a computing module, that can transfer data across keynotes, octaves and instrument fluently.

(vi) Scripting, while playing along with the A/V of previously scripted pieces, that releases digital sound on one side of a double-edged Axis line, merging twin tracks to record the play-along instrument simulations, on the digital pickup/microphone source, on the other side of the Axis line shown on screen as a continuous read-play/replay-script, looping back over in a chosen time frame as needed. (vii) Music orientation guiding module to guide and provide explanation in text/graphics for note sequences played, as theoretical value to complete the system by compiling the filter features required for evaluation.

(viii) Internet schooling, and social-media interactivity to the fullest extent of music creativity and connectivity with computer software and the instruments, built specifically to use it. One embodiment of the present invention relates to audio-visually illustrate a pitch in a musical order as a musical data, wherein the musical data comprising: a plurality of colored and non-colored classifications in octaves, wherein each natural pitch alphabet, solfege syllable or any combination thereof is assigned with a predefined color with its sharpened and flattened staves, frets, segments, notes or keys having graphic representation in their associated color, and a signal having a plurality of stretched segmented graphic that registers volume throughout the signal and number of the segmented graphics as a continuous grouping registers the duration of the pitch or transcending pitch. Preferably, the signal is a flowing notewave.

Preferably, the segmented graphic is segmented lines.

Preferably, the pitch or transcending pitch converted into solfege.

Preferably, the pitch in the musical order is produced by at least one device or electronic musical instrument. Preferably, the musical data is represented on a display medium connected to the device or electronic musical instrument. Preferably, the device is a mobile phone, smart TV, tablet, monitor, processor, computer or musical instrument. Preferably, the display medium is a mobile phone, smart TV, tablet, monitor, display panel or musical instrument with a display panel.

Preferably, the musical data is of 12 half-note stave spaces per octave. Further, the system comprising a converter module to convert the pitch of musical order into the musical data.

Preferably, the system is a web-based computing resource. Further, the system comprising at least one graphic signal for identifying the notewaves locations in play or to be played.

Preferably, the musical data scrolls or shifts a predefined pitch position to be relayed on the display medium for displaying the signal along the predefined positions.

Preferably, the colored and non-colored classifications is presented in mellow, tinted colors to highlight the signal in bright moving color. Preferably, the colored and non-colored classifications is presented as seven colored and five non-colored graphic represented staves, frets or segments divisions for a diatonic scale with other combination for chromatic scales, ragas or any other system of scaling. Preferably, the colored and non-colored classifications registers shades in any combination apart from the predefined colors which is ih rainbow colors as playable classification of staves, frets or segments divisions, thereof to be transferable.

Preferably, the signal uses one stave space as its center, with the above and below staves to be used to show a set maximum volume stretch as enlarged wings of the signal, sharing space when touching each other.

Preferably, the signal includes a segmented opening to accommodate another signal to be recessed behind the preceding signal, whenever an overlapping occurs.

Further, the system includes vertical lines or other graphic representation for chromatic double sharps, double flats or any other order thereof, where on the segmented signal traverse.

Further, the system includes an axis point for the audio-visual script of the signal to pass-over as an axis line or a playtime.

Further, the system includes a pivoting axis point for releasing the gathered sound, while gathering new sound simultaneously or any combination thereof.

Preferably, the data of the signal is collected as grid registered pixels on a display medium in the mode of interpretation. Preferably, the signal represents the volume by the stretch of each of the segmented graphics and the duration by the number or length of the segmented graphics, registered by an input medium.

Another embodiment of the present invention relates to an apparatus for audio- visually represent a pitch of musical order as a musical data, wherein the musical data comprising: a plurality of colored and non-colored classifications in octaves, wherein each natural pitch alphabet, solfege syllable or any combination thereof is assigned with a predefined color with its sharpened and flattened staves, frets, segments, notes or keys having graphic representation in their associated color, and a signal having a plurality of stretched segmented graphic that registers volume throughout the signal and number of the segmented graphics as a continuous grouping registers the duration of the pitch or transcending pitch.

Another embodiment of the present invention relates to a method for audio- visually represent a pitch of musical order as a musical data, comprising steps of: assigning a predefined color for each natural pitch alphabet, solfege syllable or any combination thereof with a plurality of colored and non-colored classifications in octaves, with its sharpened and flattened staves, frets, segments, notes or keys having graphic representation in their associated color, and registering volume on a signal having a plurality of stretched segmented graphic and registering duration of the pitch or transcending pitch for number of the segmented graphics as a continuous grouping throughout the signal.

Another embodiment of the present invention relates to a system for providing a color coded music notation, comprising: a device for producing a plurality of signals; a display medium connected to the device for displaying the produced signals; and a converter module to convert the signal obtained from the device as flowing notewaves on pitch represented staves, characterized in that the pitch represented staves having a plurality of colored and non-colored staves per octave, wherein each natural pitch alphabet is assigned with at least one color with its sharpen and flatten pitches having graphic representation with that same color, and each solfege note-wave is made of a plurality of volume stretched segmented lines that registers volume throughout the note and number of the segmented lines as a continuous grouping, registers the duration of defined or pitch transcending note. The present invention consists of features and a combination of parts hereinafter fully described and illustrated in the accompanying drawings, it being understood that various changes in the details may be made without departing from the scope of the invention or sacrificing any of the advantages of the present invention.

BRIEF DESCRIPTION OF THE DRAWINGS

To further clarify various aspects of some embodiments of the present invention, a more particular description of the invention will be rendered by references to specific embodiments thereof, which are illustrated in the appended drawings. ^' It is appreciated that these drawings depict only typical embodiments of the invention and are therefore not to be considered limiting of its scope. The invention will be described and explained with additional specificity and detail through the accompanying drawings in which:

Figure 3 illustrates one embodiment of a bowing instrument.

Figure 4 illustrates one embodiment of a bowing instrument and its functionality. Figure 5 illustrates one embodiment of a multiple touch screen board as musical instrument.

Figure 6 illustrates one embodiment of a graphic representation of notewave for music movement.

Figure 7 illustrates a calibration model of a conventional method and current method.

Figure 8 illustrates keyboard having an axis line characteristic.

Figure 9A illustrates a diagrammatic audio visual connectivity concept of one embodiment of the system.

Figure 9B illustrates another embodiment of a particular instrument using the system. Figure 10 illustrates one embodiment of present invention having fundamental graphic representation of fretboard.

Figure 11 illustrates one embodiment of present invention having a fundamental display of graphic representation for a 12 half-note per octave stave division.

Figure 12 illustrates the cover with a touch screen computer or display panel screen.

Figure 13 illustrates one embodiment of multi-graphics used for wind or blowing instrument.

DETAILED DESCRIPTION OF THE INVENTION

One aspect of the invention relates to a method to learn and enjoy playing music, where the grasp of music theory, in good time, starts almost instantly, with an ^' Audio-Visual (A/V) notation system, using fixed colors for pitch (ABC) and fixed solfege colored (DO, RE, Ml) note-waves, which registers volume by the stretch of a segmented line, and the duration by the number of continuous segmented lines, to show music movement precisely, preferably running on given levels of 12 half-note spaced pitch represented colored and non-colored staves division of stave, fret or segments, doing away with clefs, accidentals and symbols by shifting or scrolling the pitch or in some cases solfege, to 'centralize' the DO position with a standard solfege colored key-note, programmed for music settings of moving solfege notewaves on staves or frets into a playtime axis line or indicator, as downloaded on a connected device, touch screen device or other such sources which is relayed simultaneously via cable, or wireless to the fingerboard's/keyboard's display medium to convert data in their own receptive mode, into graphic signals, identifying solfege locations of flowing note-waves to be played upon, in precise, music movement depiction with music orientated programming to guide/correct, with the notes seen, heard or touched on grid- lines of the fingerboard's display-medium or hit on a keyboard or screen-board, to be scripted while playing, on the monitor screen's dual-purpose (read/script) Axis-line fusion of tracked staves, with the elementary methods to construct workable core musical instruments, to use the system, for 'Internet schooling' and interactive online activity to eventually unify music under one fluent transferable A V system, from the old, to a new reality.

As illustrated in Figure 3, by watching the Audio-Visual graphics of standardized solfege colored notewave made of segmented lines, as music movement on fixed levels, of pitch-colored staves shown on the monitor that have scrolled in the keynote pitch, at a 'central' position and/or the fingering of an artist on the monitor screen, relayed along with the moving or changing colored pixels on the fingerboard display medium, under the fingering area, one can play to the precise timing, volume and duration, to capture music movement from each notewave's segmented line's volume stretch, with the duration indicated by the number of segmented wave lines, as they move into an axis line on the monitor, to strike on time, making it possible for even a beginner to play a phrase from a grandmaster's piece, even on the first night of trying - with some bowing practice and finger exercises, preferably along with user friendly features i.e. Rewinds/Forwards, Pause or Slow options. Figure 3 illustrates one embodiment of a bowing instrument, comprising of:

31. Colored pixel lights on Medium and screen (Seen by user simultaneously)

32. Detachable Clamp Fixture

33. Wireless/Cabled Monitor to fingerboard Medium display

34. Flexi clip-on plastic Rods to hold soft padding to be adjustable on the chest. Dimensions of the 'Arc rods' to be established

35. 'Soft padding'

36. Belt strap over shoulder and under other armpit.

Preferably, where the fingerboard proves enough to sight read, the clamp fixture and monitor may be replaced by other digital sources.

Figure 4 illustrates one embodiment of a bowing instrument and its functionality. The function of bowing instrument on screen includes:

I. Cameras to be ideally positioned or chord stretched/plugged with optional infrared registration of finger movement

II. The flowing bright colored solfege notes are to run along fixed mellow

tinted colored staves that are scrolled.

III. For script/recording, the 'Axis' line is adjustable further up to see the

played notes over the axis line.

IV. Cover piece to hold the pick-up's option, as a slide-shut fixture. The function of bowing instrument with connected device or computer further includes:

41.Adjustable/Detachable Clamp fixture to design.

42. Connection to/from Computer and Medium Display.

43. Mother Board-Hardware compartment, under well-sealed cover or covers without rattles.

44. Built-in speaker option to headphone.

45. String.

46. Colored Pitch Fret lines.

47. Side Rails.

48. Grid-lined fret box under centered string.

49. Colored solfege note-wave.

50. String-way divide.

51 .Curved scratch-proof hard glass.

52. End to End bow stick movement indicator strip and which strings in play

53. Medium display flushed under glass.

54. Pick-up's preferably embedded into sliding cover. End to end ventilation to consider.

55. Body Chassis to Industrial design specs to balance the pressure on glass sliding into fine cut groove of side rails.

56. Audio from computer and pickups volume control separately adjustable

57. Audio Flow to (or wireless to headphones) external speaker port/ built-in speaker.

58. Axis line - notewaves flowing downwards

- Above axis line is prerecorded, below axis line is scripted.

Audio recording from pick-ups, into computers via digital microphone source to play along and record with synchronized digital speaker source on merged axis line.

59. Metronome Lines as columns along the staves edge to accommodate click or beat choices to be set, even as solfege chords in their own graphics to edit in as offbeat rhythms. Further in this embodiment, the colors of the staves change, when a keynote changes with the non-colored staves unchanged, on a given scale (e.g. Major or Minor). The page may also focus entirely on the fingering image of playing area with or without fingering. Preferably, the data of this image may be played upon on a laptop, tablet or mobile phone screen in various embodiments of features and graphics.

Preferably, the data of the stave image is transferable to the playing area of the fingerboard or transferred entirely to the fingerboard display medium, with the necessary side reading time.

Computer data of a notewave movement to and from the fingerboard medium is transferable in its own selected A/V mode by the proportionately equal horizontal (for volume) and vertical (for duration) computer registered grid lines per fret-box on fingerboard, for a standard data-flow, to read and script/record.

Figure 5 illustrates one embodiment of a multiple touch screen board as musical instrument, wherein the screen board instrument comprising:

61. a preferably see through mirror image of Virtual Hands/ camera image

(option for screen placed over keyboard) to see note waves, which may be a camera image on the keys itself as shadow image or outline.

62. a notewave in play on axis line.

63. an option to use either or both directional flow.

64. a solfege colored stave within a set scale with sharps and/or flats with

optional off white lines.

65. GREY - preferably for minor usage for (with pitch colored lines if

sharpened or flattened) Majors Ml, LA and Tl in a diatonic usage.

66. GREY- may have a single pitch color identification line, if not sharp/ flat (i.e. natural). 67. BLACK- 'generally unused' for Major or minor usage with pitch color identification lines in a set line thickness ratio for change over stave usage of diatonic scale (to be established for all sharps and flats). The staves and fret line pitch colors (A,B,C) ^' are fixed throughout the system with solfege also in its fixed colors for the main part as applicable.

Further, the solfege color is designated according to the keynote pitch chosen by shifting or scrolling. The sizes maybe adjustable for an infant or even in various custom formats for creative usage, which may use solfege color based locations for pitch- e.g. violin. All staves to be preferably of the same width for smooth data flow, for transferrable usage choices. The best operating systems to interpret the fullest scope of audio visual color coded notation system or functions effectively for interfacing, is not to be compromised without good reason.

Notes raised/lowered (augmented/diminished) would show changes in pitch graphics for standard cross over representation as stave markings, in front of each solfege notewave that skips a level with the appropriate solfege to be made relevant by spontaneous music orientation programming of theory for clear understanding.

Figure 6 illustrates one embodiment of graphic representation of notewave for music movement. The color coded solfege notewaves essentially transfers volume and duration data to/from monitor or device and fingerboard or keyboard mediums of different instruments, with data variations of dimensions in solfege colors effectually by their grid registration as they run on the staves and fret box grid settings and should be transferable to the music movement needs via computer module. The colored areas of the fret boxes may vary with bowing having thicker colors on both sides of the fret lines and merging colors between frets, while embedded fretted instruments, having no variation between frets, use one color fret to fret, but both using the pitch fret line for data registration. The graphic representation for color coded notewaves includes:

71. Preferably, unspecified pitch colored stave for keyboard note waves to run on.

72. Maximum brightness for solfege note-waves on mellow tinted pitch/solfege colored staves or solfege fret boxes.

73. Displays a White volume bar when in play, preferably for keyboard

instrument as well.

Segments to turn (optionally) white running through 'home' color box to exhaust segments at the top grid of the home fret box or fret line where it may turn back to colored segments within a white volume bar, for bowing and fretted instrument.

74. Unspecified solfege colored fret boxes.

75. Colored Pitch Fret line, preferably dotted for sharp/flat.

76. Directional flow of the notewaves.

77. String.

78. Axis line (over a keyboard as one embodiment).

The shaded areas are unspecified colors for Pitch or solfege. X ¹ =X ² Proportionate volume (notewave on stave may be enlarged by sharing adjoining staves).

Z ¹ =Z ² Proportionate Maximum volume.

Each fret box of varying sizes to have an equal number of vertical (duration) and horizontal (volume) grid lines registered into memory with the computer, with a built in turner for efficient data flow.

Preferably, each overlapping note wave, would run woven together, with the notes that follow, having to stay recessed within the gap, of the note to be struck first providing the sight reading time needed to play without staves displayed. With each notes timing, volume, duration and color difference, visibility would be clear. Trials should clarify the effective graphic proportions, for improvisation to use with laptops and even handphone screens.

A recording of the white volume bar as the playtime on a fingerboard would register colored segment lines blurred out downward to a fixed fret distance below in an evenly fixed time to playback for the sight reading time needed as they are looped back over the play/script merger of the axis line, in defined colored segment lines running the same registered course into the playtime again. Notewaves constitute the common value of music movement.

Preferably, each segment and gap would be of equal width and may be timed together or separately as one standard calibrated unit of time, depending on each segments time, speed and visibility. Figure 7 illustrates a calibration model, where it shows an alternate to the conventional method with two options to sub-divide a segment, with Identification color and/or effects to be assessed.

Attempts to capture volume and duration, even vaguely led to a mass of symbols to be groped at previously. Preferably, the basic time of a conventional whole note or a segment may be the 'meter' for speed-calibration.

AXIS LINE CHARECTERISTICS The Axis line is a dual purposed edge for the visual script of moving notes on staves to pass-over, releasing sound (from digital speaker source) AND/OR gathering the sound (by digital microphone source) from any system-connected instrument into a synchronized recording 'clocked' together (and seen on both sides of the Axis line) as one fluent phrase on different digital tracks to be joined if acceptable or editable, if need be. Figure 8 illustrates one embodiment of the present system build up for scripting that would evolve from the basics -

A. For Reading (68) the score (without recording - produced from the same A/V system), the AXIS line (70) functions at the far end (right or left to be assessed) of the screen, to gain maximum sight reading time, or runs top to bottom if placed over a Keyboard with each stave's note-wave ending above the key to be played B. For Scripting (69) (a fresh piece) out of an AXIS line (70), the data collected at the digital microphone source is shown on-screen from one end (or bottom going up - if placed above a keyboard) whence a note struck releases stretchable volume registering segments coming out of the AXIS line (70) (standard time calibrated as a metered-run) recording the duration till the note ends.

The present system would have A & B as stated above functioning together, from the two Axis points (digital speaker and microphone sources) transcribing graphically as a single two-edged axis line, that can be slid/placed or centered midway to view and hear both sides as the play passes over it, from the computer, while simultaneously recording from an instrument connected to the system as it is played along, using the two AXIS points to anchor timing with the fingerboard grid's location graphics, and other functions keyed in, as a flexible operative mode.

A phrase should be able to be played over and over again to perfection for a period/portion continuously - by recording itself as a new-phrase each time, with options to delete, edit and to attach, for finesse eventually. Axis line characteristic when placed over a keyboard, where the audio-visual (A/V) note-wave data downloaded from the web library runs in color into the Axis line, breaking into sound, to carry on visually beyond the AXIS line (as a colorless marking if need be for comparison) as the colored struck-notes of the connected instruments registers the play over it simultaneously. Further, to play without recording the note waves are to bump the frame above the keyboard which may show solfege color marking on the axis line which is to 'blend' closely over the keyboard. Preferably, a Camera Recordings can be converted to graphic, visual 'Hand' Indications on screen by recording with infrared techniques or camera to sync with the script. Preferably, the Staves width need be aligned with keyboard.

Preferably, traditional keyboard can be implanted with volume sensor grid from key/string to connect the appropriate screen-board software. Preferably, the Computer recording the play-along instrument at the Axis line is performed through digital microphone pick-up sensors, from each string/key clocked together, with the digital speaker output as separate tracks fused at the axis line to be assessed and edited as need be or looped back over the screen to be re-recorded again and again. Further, a screen to cover the entire 88 keys (more or less) of a piano would be a composer's dream, to record multiple instruments separately on tracks for editing mixing etc. The notes running downwards seem the natural choice for many instruments and may be the standard. The sound of such recording may have a precise technical dimension devoid of sound balancing, mixing, resonance, sound surrounds, etc, which is left to real time creative synchronizing.

Preferably, staves as the storage medium can be condensed and synchronized into thin layered lines for multiple instruments, for any length of time, for portions to be focused/enlarged and quickly 'displayed' by finger spread touches on the metered track lines, for a user friendly play-record function, where repeats, can be 'tapped' into, from point to point individually or as mixed tracks for un- interrupted play over and over again, without resetting, for practice to perfection, without a recording studio.

Figure 9A illustrates a diagrammatic audio visual connectivity concept of one embodiment of the system, wherein it includes:

81 .A connecting medium for audio-visual connection from a computer or display to a device or musical instrument (wired or wirelessly).

82. A connecting medium to a computer or display from a device or musical instrument sourced from the touch screen fingerboard display grid or keyboard gird registering computer data of visuals with sound from pickups.

83. Preferable Plug and Socket joint.

84. Headphones or Built-in Speaker option.

85. Preferred Sensor or Pick-ups lined to display grid (or keyboard volume grid).

86. Display medium (keyboard with grid registration with each key).

87. Audio connection from Computer.

88. Audio connection from Sensor or Pick-ups.

89. Selection switches for audio output device.

90. Optional Dual Volume Control knob.

91. One or a plurality of input / output ports or AUX port.

92. Display screen or monitor or any alternatively a computer source.

Figure 9B illustrates another embodiment of a particular instrument using the system, wherein it includes:

93. Curved hard glass to be slide and glue into side rails with medium, socket and fittings etc.

94. Pick up holder preferably with a slide-in cover

95. Axis point for digital speaker and microphone source, synchronizing audio signals to and from medium and computer (linked to visuals) to be created by sound specialist for hardware/software 96. a display medium under glass.

97. Pickups & Connectivity to/from computer and medium

98. Volume control separated, from pick-ups and computer into built-in

speakers or Headphone/External Speaker port

Sound in music may be too simplistic to set into computer laptops and must be better sourced, with the necessary sound-modulation hardware/software components, with good speaker connections for modification to personal choice. For a keyboard, the volume sensors from each string or key would preferably be the computer-registered grid for solfege definition with the volume/duration dimensions of the note-waves. Blended sounds that are pleasant to the human ear, may vary with the sensors meant for precision individually and may function separately for an authentic-resonance.

This color aided system, would hardly stress on pitch (A,B,C), which is already fixed on the fingerboard and staves, while it is solfege (DO,RE, I) that needs to be found on the fingerboards/keyboards to play, and on the staves to be read, which changes with the scales and keynotes used and is 'abstract' in its grasp for sight reading, which this system tackles by matching standard solfege colored note-waves of a keynote/scale on 12 tinted, mellow tinted colored half-note spaced staves, fret boxes or segments (seven colored and five non-colored for a diatonic scale) on the device or monitor screen with sharps/flats graphically represented and having the pitch colored divisions or in some cases the solfege note waves, scrolled to 'centralize' any half-note as the 'key' note (DO) - with the others solfege syllable displayed in their standard colors, at recognizable positions on the divisions, which is instantly relayed and shown on the connected fingerboard's display medium (where applicable) in A/V solfege color as bright moving notewaves, on mellow, fixed, pitch-colored fret lines (A,B,C) and mellow tinted solfege colored fret boxes as illustrated in Figure 10. Figure 10 illustrates one embodiment of present invention having fundamental graphic representation that may be displayed on a display panel under a Hard Glass Scratch-proof display screen for bowing, preferably having curved profile or for fretted instrument having a flat surface profile. The type of scale and key note may be shown on display screen having a title box able to notify systematic usage by graphic representation of the sequences played e.g. Key-note as title base color or boxed for a natural minor usage. Preferably, variable instrument is tuned differently from open strings. The action of changing the keynote from Έ' to 'F' allows the system to lower the color structure, by a fret from the open strings.

MELODIC - minor usage could have a pulsating black or dark shade on the fret box, to notify or indicate when not to hit or play, depending on going up or down the pitch alternately for Majors LA and Tl and encircled natural minors la and ti, as intended usage for diatonic scale which could be a feature for other system of notation.

The fifths of any note may be keyed in, to blink differently up and down the pitch to find or recognize it's enharmonic quickly, while the octave 8ths are always of the same color for easy chord recognition, as a set of colors.

101 . HARMONIC - minor usage going up &down the raised natural minor ti may be shown in special effects, e.g. flashing stave and/or framed box. Preferably, strings to be centered over each string-way, perhaps from the best eye position. View of medium is of the essence to flexibly anchor the best read/play position of the instrument. Preferably, all box colors are to be mellow and tinted for the note-waves and thin fret lines to be prominent. Preferably, fundamental graphic representation having 7 colored boxes, staves or segments (some horizontally lined if sharps and/or flats) and 5 non-colored boxes, staves or segments for a diatonic scale, in different graphic stave representation e.g. lined for sharps/flats, changeable major/minor stave representation.

102. BLACK (dark) for fret box generally unused in a (major/minor) diatonic scale. 103. Preferably, a single Vertical pitch reference line for non-colored boxes without sharps or flats may be included.

104. Colored grid lines of the assigned pitch as fret marking, preferable with dotted fret line to represent sharps and/or flats (they are not used together in a 'diatonic' scale formation).

105. Colored solfege preferably (within the keynote scale) with off-white lines for sharps or flats (also on stave representation). 106. Diagonal lined box represent a grey color for flattened MAJORS Ml, LA AND TI'S in a NATURAL minor scale when used (circled as mi, la and ti) which leaves MAJORS Ml, LA and TI off-white, with pitch colored reference lines as needed). 107. Each fret box of different sizes between fret lines and string-way, divides, to be equally divided 'proportionately', both horizontally and vertically to flow note-wave data, evenly for duration and volume, on pitch grids to be tuned, with a built-in tuning device apart from factory settings, to be registered into a database, to sync with segment wave line dimensions that are to travel through them. A fluctuating white volume bar is to represent playtime volume and location, preferably throughout the system as applicable whenever audio-visual reflects the playtime or whenever the display is touched to record as the key index of axis point configuration for data.

Preferably, a broad 'work table' of scholars, artists, programmers, industrial designers etc. is required, to mold the concept with the necessary, considerations and adjustments, for as wide a subject as, music is, with notation, computing, instrumentation, scripting and sharing on the internet.

Figure 11 illustrates another embodiment of present invention having a fundamental display of graphic representation that need to be encoded into data from grid registration coded for keyboards or guitar frets on a display panel in variable mode of instrumentation and choice for audio/visual graphics of segment waves on staves.

1 1 1. Example of a Violin note to be slid to a lower pitch changing colors with the solfege zone.

1 12. Preferably layer of several of instrument can be condensed into thin timed lines to be extracted and mixed played or edited, with adjustable notewave graphics.

1 13. Bright solfege note-waves in play.

114. Pitch colors to be mellow and tinted for clearer solfege note-waves. (DO, RE, Ml).

1 15. Struck notes (e.g. piano) may be shown as dotted mist for sustain with research on sensor technologies to identify as sustained or held. (e.g. Violin)

1 16. Keyboards would have different spaced keys but are balanced over the octaves.

1 17. Custom made keyboards need to align keys/staves evenly, for a standard data flow 1 18. Key spacing to be studied. How to compromise this is to be researched or left as such

1 19. Colored with off-white horizontal lines for sharps and flats within a solfege scale (in an established line thickness ratio)

120. Grey - for Major's 'flattened' mi, la and ti's of a natural minor scale

121. White space represents plain-colored natural pitch solfege (e.g. A,B,C)

122. Black - 'Unused' note(s) in a diatonic scale with color identification

horizontal lines if sharp/flat.

THE COMPOSER'S DREAM

Figure 12 illustrates a placed-over-keyboard display connected above the grid registered keyboard with a full range of octaves to accommodate play data for various instruments in an orchestra, with modulation and simulation to be data based as notewaves with variant graphics indicating the type of instruments on the staves that is transferable to different data graphic formats to suit the application, that the notewaves core volume and duration grid delineation is intended interpret into varied data. For example a color may be assigned to an instrument, or its group, or simulated vocal in the octave range with stretched ends of the volume segment lines joined, or as dots of the contour of the notewave duration, while other instruments may be segment lined to recognize multiple instruments played together or overlapping ones, with the instrument being worked on, in regular solfege depiction on a blurred or tinted background of earlier recorded notewaves, with the intricacies to be managed by good spacing, graphics and also by storing away set pieces into thin synchronized tracks for any length of time to be retrieved at will by finger touch and transferred to other artists or instruments to play out the simulation with the 'real' instrument into a system which would be a sophisticated, compact, versatile keyboard, serving as recording studio, which has user-friendly notation, along with multiple input device ports for added specific needs. Figure 12 illustrates one embodiment of the keyboard cover as a touch screen computer or display panel screen 901 of a custom made P.O.K (Placed Over Keyboard) type that maybe made to come off the hinges (and maybe connected to other instruments) and sloped as need be and placed closely, above the keyboard 902 with the note waves 903 running down into the keys to be hit on time. Being fixed in 'pitch' over the keys, in this case, the solfege would be scrolled to the keynote choice. The cover or display screen 901 may be used on any grand piano 902 with AC/DC power without connection to the piano to read and play (without scripting) with the staves adjustably aligned to the keys.

The connectivity between the screen 901 and any keyboard 902 is mainly needed for a record/script link from modified pick-up sensors, laid with each key to 'grid-register' the placement of solfege when recording.

SCALES Many types of scales (measures), time tested throughout the ages has crystallized into the most widely used diatonic scale, separated into Major and minor's variations, using the same interval-measures of whole note and half note spaces (as piano's black and white key intervals) but arranged differently, from any of the 12 half-notes of an octave chosen as key-note, in two ways.

A. Movable 'DO' natural minor uses the Major's 'LA' as the minor's key-note 'DO' by sliding the scale to read the same intervals from a different solfege (DO, RE, Ml) point. B. Fixed 'DO' natural minor uses the same intervals as movable DO natural minor (alike black and white piano key sequence) by flattening the Major's Ml, LA and Tl's but uses the same keynote root for the Major and minor scale. They can be tabulated, to see their similarity and different orientations, from different keynote-points of view, which has long been an issue of discourse in usage. Compared to the cumbersome conversion of the minor's pitch degrees in the fixed DO's conventional notation, the movable DO natural minor, which uses the same notes as the majors, seems convenient by using the major's LA as the key note, to keep the minor's standard sequence of intervals. By using the same keynote tone, rooted for the major and minor's variations, the fixed DO, as the choice of serious musicians who can tell the tonal difference, this system with all the half-note spaces now spread out for minor variation's usage can now blend with the majors as a single toned scale, for flavored interplay between them, to be called a real 'Diatonic' scale, whereas the movable DO stays ambiguous by the 'tonic' keynote difference (Majors - LA as Minor's Keynote) which disconnects the creative union of the majors and its non corresponding 'tonal' minor for any direct, meaningful interplay of the scales variations (which the present system invites) unless written with accidentals (sharps or flats) as a separate Major or Minor scale as was done, which leaves constructive music to the perseverance of a few well grounded theorist, when confident expression, almost instantly, with what the new-age electronics have to offer, is but a step away.

By assigning a definite color to a keynote of any pitch of any scale used, we recognize its 'character', as the keynote for whichever scale used. All other notes on any given key-note scale have a spaced affinitive frequency relationship with the key note, and as such is given a fixed color, at their respective placing - e.g. the 5 ^th note (SO) on any scale is always the same color and it's character is generally 'dominant' to the keynote, or the last note (Tl) is in character the 'leading' note, and is assigned its own color as shown in Table 1. DO - KEY SO-DOMINANT

RE - SUPER KEY LA - SUB MEDIANT

Ml - MEDIANT Tl - LEADING NOTE

FA - SUB DOMINANT ^* Higher Octave DO ^*

Table 1

The leading note Τ , other than 'leading' to the keynote, seems to have been called as such, on account of its role in defining whether the sequence of intervals played, is of a Major or natural minor (melodic/harmonic variation) usage, indentifying each scale in its own ingrained 'temperamental' (feel) that can be merged with proper usage, which this system with a precise structure could get computers to 'filter' theoretical music orientation of the sequences played, to tell the type of scales played, on a 'keynote' chosen, to be shown on a title box in graphics/text to reveal its worth, in frequency/temperament as known to music elders, to formulate an acceptable 'yard-stick', like spelling and grammar is corrected, while 'typing' in real-time.

Chromatic scales use the same half-note divisions with meaningful sequences of intervals and have their own structure in octaves and fifths, that have tabulations by grandmasters of the west and in the east (as literally hundreds of Ragas with their own names with variations in India) which the system half-note spaced divisions is perfectly built for and may well be an intriguing expansion of the Major and minor variation's graphics on the same spread out staves.

Chromatic scales have their own unique intervals with double sharps or flats which may be shown as vertical lined staves in the same alphabet (natural) pitch color for solfege variables (e.g. do-du-daw.. etc) that may be coded and defined graphically as solfege notewaves, (even if without all the seven solfege syllables but anchored in octave and 5 ^th positions). Dotted spaces and other A/V graphics may be used for differing purposes, at the discretion of music elders, without clefs or symbols. Where chromatic scales with double sharps and flats are sharpened and flattened further (when raised or lowered) it can be plainly seen in actual stave positions as crossover representation which the non-colored staves could show in pitch color identification, with horizontal/vertical lines or plain non-colored ^' staves, as described for the diatonic scale changeover usage before each notewaves which skips the half-note division.

Variables to the main theme would need learned judgment for the necessary adjustments, which may be questionable in preferential some form or another. Music elders are to use their better judgment and the system itself should clarify much incongruence.

There are scales that use the 17 equal temperament octave (aka. 17 ET) and the (19 ET) which is hardly used, but can be played on the violin (on its fingerboard display arm, with fret markings if programmed and stored from pitch setting points) and would have the octave and fifths bondage with perhaps more subdivided 'Mediants' flavors in-between (which gives credence to the quarter tones) However the piano and guitar frets have been set to the 12 ET half notes seemly, for the finger friendly use of space and scripting.

A3 (3 ^rd octave) to G3, or A2 to G2 could be made a standard octave for definitive computation (movable DO may not be included, in the main stream, except for academic tabulation/preference)

The 'miracle' of music, where a note doubled in frequency, gives an 'equivalent' blend of a higher pitch for a perfect eighth to form an octave, and the recognition of the dominant fifth notes going up or down the pitch, structures music as scaled intervals with the mediants in-between giving varied flavors, which themselves have perfect eights, fifths or (fourths when going down the pitch as sub- dominant). It is not in the scope nor purpose to delve into the varied inroads of scaled intervals, which is best left to music theorists, on a well-worn path, except to highlight, the common workable relationship between the staves, frets and segments for A/V notation, even if it be ambiguous in any deductions, being put together without formal music grounding, but more by a desire to play real instruments/music without the 'labor', by using the electronic 'aids' of today, built on the basics of music structure. WIND / BLOWING INSTRUMENT

Figure 13 illustrates one embodiment of multi-graphics used for wind or blowing instrument. Preferably, each manufacture needs to provide the best graphics into the marketing webpage for each peculiarity of the single frequency output of wind instruments in the systematic requirements for data transfer and flow.

With the grid of notewaves movement established over the registered play areas, space and time, any format of graphics may be entered based on grid data. With blowing instruments not needing to convert the already cut-out solfege and unable to register the variables of pitch by finger location, it may relies on superimposing or overlaying on other instruments simulating for it, or highly evolved pitch frequency sensor can convert pitch into solfege instantly for the single frequency sound vibration output of wind instrument, via sensor membrane, ultrasound, infrared or other best suited technique of pitch registration through sound.

The multi-graphics used for wind or blowing instrument such as Trumpet (A), Flute (B) and Saxophone (C) are explained as below; 131.Bright colored segment in solfege definition.

132. Lower/Higher pitch progression line that may indicate other features. 133.0ctave colored keynote indicator line.

134. Preferably, when a note hits the octave pitch of a keynote, the background color of the octave may change while the notewave drops or springs back to its original octave delineation.

135. Play-time axis line.

136. Graphic air vent operation indicator for left or right hand user.

137. A fuller score as keyed-in.

138. Lipping pressure gauge option, from accentuated microphone pick-up.

139. Virtual hand or camera option.

140. Other instrumental track to play along with.

The system is to be presented in a multitude of graphics movement formats to the needs of each purpose or preference to the user and as such, all definitions, drawings are intended to clarify the relevance of the particular elements and is not to be limiting to the scope of the invention's unitary purpose to transfer the data in solfege or pitch on staves, frets or segment, directions of flow, colors, dimensions, definitions as is apparent.

Blowing Instruments have the tubing cut out to a standard solfege (DO, RE, ML.) interval at different pitch ranges (Alto/Tenor Saxophones) and does not need a computer connected solfege converter display, but use the screen to sight-read (with modified A/V scaling practice methods) in sync with keyboards or bowing instruments that can script passage in its tonal range to be superimposed with the real blowing instruments sound on another track to closely align the sound and graphics until, better/additional identification direct from sound can automatically register solfege by a quick and stable frequency sensor reading (to complete the system), which may be possible for blowing instruments on account of it having a singular pitch frequency output throughout, which would translate into graphic dynamics of its notewave composition to be compatible with the system, as colored segment lines in its own volume and duration to match the grid of fretted or keyboard instrument. Paradoxically, the 'movable' C clef that notates for 'Bb' type blowing instruments on 'different' keys, had the C4 'scrolled' on the line/space staves without the frame adjustment to centralize the keynote, as we now initiate, by scrolling the staves to centralize the keynote which will now have the 4th octave (C clef) 'to center' the Alto or Tenor keynote chosen, between the 5 ^th Octave (previous G clef - Treble Clef) and the 3 ^rd octave (F clef - Bass Clef) for the staves or segment to run smoothly up/down any octave for a common interchangeable usage without clefs, accidentals, symbols or added ledger lines.

The need to fix a display medium device to the air-vents of a wind instrument does not arise on account of pitch being found by variable air vents operation but because the solfege is already cut out of the tube, with standard spacing between the holes (notes) - with variables that 'stretch out' for more range with additional and often complex air vents.

Wind instruments will find this notation easy to grasp , more so, in relation to common orchestral arrangements with the fixed solfege colors for DO, RE, Ml on any scale, at about the same stave level, on scrolled or shifted staves and notewaves segments may show solfege apart from notes volume in well balanced graphics over the octaves.

Once the lipping and the fingering is grasped, as a flowing balance it becomes impossible losing it, like falling off a bicycle. Blowers then need a basic foundation in scaling practice, to pedal the DO, RE, Mi's instinctively and be able to jumble them up for good sight reading. Intonation, if ingrained by mastery of different instruments, that this system is capable of inducing, gets the duck to the water, by hearing the notes played along as well. Scripting a piece for a blower can be done on an electronic keyboard with the all important breath factor to be lipped in to give life on a 'synchronized' track, which when aligned and compared may show the natural stress-points of volume for different instruments, for computers to even imitate.

Endless possibilities abound with the evolving market of chips, sensors, materials and the sciences to calibrate sound waves to get a rich blend of electronically resonated sound. With sound modulation innovation, a single instrument may be 'chamberized' and modulated to sound like others, maintaining an authentic feel/sound. The present invention could fulfill the specific requirement for the system to program the theory of music into A/V music movement, with charts on chord progression, fixed/movable DO variations, scale types and a host of other academic issues, to ultimately develop a 'filtered'-music-orientation program, to automatically advice and/or correct while playing note sequences, and is to evolve from the conventional black and white notation in its basic, time tested structure, gracefully, into the new era of computers, in as encompassing a concept to structure a standardized wider purpose.

Recognizing the solfege locations on the staves or frets on the instrument is where the jumble of music puts off beginners and even musicians with cumbersome re-orientation whenever, the scale/keynote is changed, or running across clef octaves. The electronic age is well set for a wondrous leap for the present system to be established, and be built upon for anyone to try a hand. SOFTWARE POINTERS

1 . In its essence, notes are to be struck on the grids of a touch screen, fingerboard's display medium, inlaid into keyboards or bowing and fretted instruments in its own mode of connectivity when the notewaves, run into a playtime axis line as relayed from the computer monitor or data, which may have touch-screen features to process data, format choices for Scales, Rewinds, Theory, Definitions, Graphs, Gauges, Score display, Fingering Techniques, Internet connections etc.

2. Any of the 12 half-note pitches in mellow-tinted, colors can be 'centralized' as the keynote by shifting or scrolling and be displayed on the monitor screen and simultaneously interpreted on the connected fingerboard's display medium.

3. The bar lines are divided equally using metronome clicks and/or A/V beat markings, without breaks on the run of a clock as one continuous column coming out of the screen edge, or a vanishing point into the axis line relayed to the instruments fingerboard medium to be hit on time. The signature signs take up actual Time/Space on the staves, and are not relevant.

4. The Bar lines need not be stretched to accommodate cramped notes and must be paced evenly into the axis line. Any ambiguity can be resolved by the artist fingering on the monitor along with the tune, with repeats, slowed or paused features to aid at will, accompanied by good A V graphic representation.

5. When nearing the axis point, notewaves may respond in different effects or turn gradually white to indicate imminent strike time with a white volume bar or line, by built-in metronomes that are graphically displayed, to ingrain timing.

6. 'Accidental' notes, are unused because each half notes has its own staves and is represented by changeover markings of staves before each solfege notewaves that skips a level on the staves, with the actual position displayed on the medium in its own grid graphics.

7. The colored notewaves are preferably to be seen through the master's fingers, graphically on the keyboard, by using software techniques. 8. A built in metronome column along the staves optimally in solfege graphics can provide the timing data along the 'march' to the AXIS point in harmonic base tones or clicks, with well structured new graphics and beat choices even chords or rhythms which may even 'sense' the pulses and auto- tempo from sound factors that could be computer oriented eventually.

9. Graphics/Gauges could show footwork for pedals of keyboards/guitars to clarify music movement with connection slots to plug into the program. 12. For minor scales variations the computer would be able to adjust the appropriate solfege note wave levels on well marked pitch represented staves, and for melodic usage, by the last note struck on the fingerboard, whether going up or down the pitch, with A/V graphic effects for harmonic usage as well. 13. On the periphery of the monitor display will be graphs and gauges to measure/monitor volume, timing, solfege, pitch colors, repeats etc.

14. While the beginner focuses on playing by the solfege, from the very beginning, one becomes aware of the actual note's pitch value also represented in different embodiments, shown permanently indicating the notes A,B,C etc.

15. Indian ragas (scales) too can be programmed, or compiled like other systems as well (by using its own chromatic variation of solfege), music being universally recognized as conforming to the harmonic relationship of the fifths and the octave eighths notes, and spaced in half and full notes. Although the Indian system, where music is almost religion, may not conform to the structured western system, it is a time tested compilation of literally hundreds of Ragas, using solfege - SA, Rl, GA, MA in the place of DO, RE, ME, FA, which westerners may recognize by their own use of double sharps/flats, quarter tones etc. in chromatic variations. A comparison of both the tabulations would prove eye opening, through this system. 16. Chords can be easily identified as a similar set of colors under different keynotes. Features such as augmented or diminished in scale/keynote variations may be compiled by academics into clear graphics and can be scrolled on the monitor and displayed on the medium as a study in itself. ^'

17. A user should be able to set up the monitor screen and fingerboard medium display they are comfortable with and experiment by using the features of choice, graphic formats etc. to set up their own page formats, bearing in mind that a unitary system allows free transfer of data and the data should be flexible in usage, such that different formats, instruments, octaves and attached devices (e.g. foot pedals), can use to the fuller worth of the core data of the notewaves coded volume and duration. 18. Octave classifications by number is to be standardize the relevant octave for the instrument's range; e.g. If A-G is the octave (not C to C) Then C major's LA can also become 'A' minor's keynote on a higher octave or in the same below for movable 'DO' usage, which needs to be specified, along with the assessment of the 'infinites' of recognizable sounds for a computer data standard.

19. Hardware and programming choices are to be cost efficient as music sessions are often all night sessions.

20. REPLAY FEATURES: The software should have very user-friendly replay features that are going to be constantly used to repeat from point to point, as many times as desired, from the score as shown on the monitor to select a portion of the piece from track lined stacks, with slow or pause options for easy grasp and following. 21. Real Music Movement is attained when volume and duration is precisely captured for each note making the conductor, a script setter with common reading for all instruments in their respective octave ranges. E.g. he could change the keynote for a singer by tabbing his master score that is connected to the accompanying artist's system and even 'feel' the tunes more directly with the A/V score.

22. Playing a tune on a higher/lower key-note only changes the pitch and does not change the tune- the sequence of intervals are maintained with the unison, harmonic and intermittent notes having a fixed frequency balance (any note an octave higher is exactly doubled in frequency)

23. Color mixes is a technique to be studied with relevance to an interactive state of color movement. 'Isaac Newton' has a color theory on solfege worth researching - with due consideration to the A/V world which is deeply into color. 24. Auto tuning features may be enhanced with research to hit the pitch on the head to the nearest half note and with the solfege do's and don'ts identified, random strikes may already induce music.

25. Studios may have to be setup for artists to record foundational exercises and popular pieces to choreograph into the system, to kick-start the program to eventually have individuals record for themselves pieces from black and white lined spaced staves from files to share and improvise, with the built-in features, to allow the masses to further evolve this field on its own steam into exhaustively files, with the system using volume duration/grid reading to script music into transferable data.

26. The diatonic scale graphics would be the front-runner for other scales and systems, for a common graphic A/V usage. 27. A wholesome digital system between the monitor's encoded readable music read on the display should be transferable/upgradeable, with the moving notewave data arrested at the core points of usage in programming by with consideration to unifying various systems of written music, whose basics in harmonics and half note spaces are already ingrained. 28. The multiple touch sensor medium could be instrumental to self-grade the play, or stop the tune until the note is played, or have a time tolerance setting, or skip to the next note on time, if missed, as is common in video gaming evaluation. 29. Should the right and left hand usage on keyboards become ambiguous by joining the clefs as one, then the graphics could show up the fingering indication on the staves and by camera recordings and even virtual hands, or as a mirror image or shadow on the screen above the keys, or identified at the screen edge (Axis-Line) - as an option.

30. Much of this method would focus on the graphic representation in color mixes, speeds, sizes and spaces for clarity in user-friendly cost-effective choices for a start up software which would invariably have to be updated with innovations as seen in the gaming industry that has broken through the ceiling for us e.g. wireless body sensors could script dance movement into music if programmed like hitting imaginary drums as solfege points.

NOTATION SOFTWARE Preferably, implementing the present invention for a range of musical instruments, for an all-encompassing musical order by getting the notation system to fall into a broadly acceptable system for A/V graphic notation can evolve music on its own steam through the intemet, in a future of paperless scores. The present system is built around a well-synchronized combination of moving notes, displayed as solfege colored note-waves made of segmented lines, registering volume and duration, running at recognizable levels on 12 half-note staves per octave, in standardized mellow tinted colors for 'pitch' that 'centralizes' the keynote by scrolling the staves (in some cases the solfege), on scale setting, at the range of octaves for different instruments, so as to get a common reading, without clefs, accidentals or symbols, that is clear and digitally interchangeable and be easily understood and be computer readable, to be followed almost instinctively, to give real music movement, in A/V time/space graphic composition.

NOTE-WAVES

Notes that give life to music movement is depicted as colored waves of segmented lines in standardized solfege colors, as a standard feature of timing, showing duration by the length of the wave segments and the volume by each segment line's audio registered stretch. A wave breaks into sound at the axis line and may waver in the 'volume size' of the white volume bar as it appears to be stuck at the Axis line until the wave duration ends, in graphic options. All of the music symbols that are now captured by the colors and wave segment lines, and the graphic stave structure become unbelievably obsolete. The present invention is able to be put together by experienced artists to integrate the waves composition of different sizes and colors in tight spaces of packed note activity, should they clash, by good spacing, sizes, timing, color effect's for best clarity and mobility as they move into the AXIS point (which fortunately can be as visible as the height/width of the screen) A grandmaster's recording into the system can now be a personal tutor, because the movement is captured precisely and can be understood by most anyone. The proposed A/V colored segmented waves, complimented by good graphics of colored staves, could well be the 'tonic' to take music into a vibrant computer age, whereby it becomes possible to play and record/script directly on screen, with refined programming capability, to edit and share on the internet, while the time-lag connectivity to be able to play together, from different corners of the world, seemingly still quite remote, being the icing on the cake.

We may have already inadvertently stepped into the basic "DNA" of music movement for computer to evolve into a new dimension, far into the future.

For sight reading, graphics of note-waves on staves coming in from a vanishing point or even from the screen edge should be sufficient to know the coming notes in proper time, with the imminent notes to strike, seen as large segments on staves at the height/width of the screen itself, and heard as well with a slow option and quick rewinds, to play complex pieces with the grandmaster's animated fingers or body movement also shown.

WAVE VALUE IN TIME / CALIBRATION MODEL

Traditionally used, a note is a division or multiplication of a whole note (Semi- breve). Time value, as a separate meter is measured e.g. 120 crochets (quarters) in one minute (a quarter in half a second), with many scripts using Maelzel's Metronome (M.M) which could be read as e.g. number of wave segments, for a standard whole note/semi-breve on our equivalent, with the present system to establish a standard time for each segment or number of segments per second, which should be adjustable with a computer 'speed- levered' metronome. This system seeks to present a precise science, by setting up a core think tank to deliver a software prototype, that balances practicality, precision and simplicity with Pitch/solfege colors and other related issues i.e. pixel strengths, readable speeds, graphics, spacing and colors into a clear time frame in a most user friendly manner. It must be stated, that there would be a need to keep an adjustable gap between segments to allow notes overlapping or touching each other to be graphically readable on the monitor staves and medium's grid and still remain intimately clear, in the search for the best graphic representation of note waves.

It is to be noted that the tempo may vary and need the metronome to be computer oriented, to read and regulate the overall 'pulses.

TWO TYPES OF NOTES

There are generally two types of notes to be recognized for the system by innovative implanted devices (sensors) to register whether the note is plucked, bowed, sustained or muffled (e.g. taking the string off the 'fret').

HELD NOTES

Bowing - As long as the bow's stretch

Wind - As long as the breath can hold

STRUCK NOTES

Fretted - instruments that are struck and sustained.

Piano - keys when struck, gives a sustained duration, which can be shown, as a mist of packed dots with noticeable segment lines, which may be applied to bowing sustains when the bow is of the string.

STAVES Staves can be made of 7 colored and 5 non-colored stave spaces (without lines) per octave for a diatonic scale or other variations in mellow-tinted colors that can be scrolled in a colored order, to 'centralize' the level of the key note (always in a fixed color throughout the system). With the solfege in the same colors and levels on staves (as applicable), all keynotes using the same scale can be easily read as one, differing marginally by the type of scales. The keyboards may have solfege notewaves scrolled over the fixed pitch staves that ends above the keys to be hit when the note-waves reach the 'Axis Line' at the screen edge above the keys). Sharps/Flats within the keynote scale, maybe represented with off-white lines on the staves in their natural pitch color. Another embodiment would have the staves in solfege color in similar graphic representation for sharps and flats with pitch shown in other option, with solfege notewave color being irrelevant except when jumping or changing the scale.

Playing on certain keynotes conventionally, would push the bulk of the notes up or down the staves with some 'DO's higher or lower, needing more ledger lines to be added (the purpose of having solfege notes 'scrolled' into fixed pitch staves, would then need the frame to be adjusted, by adding/deleting line/spaces) This is aligned by the software, centralizing the position of the 'DO' into a fixed centralized stave such that, the same solfege colors for (DO, RE, Ml) would be at the same stave level for any keynote, differing marginally by the type of scales used with the stave colors scrolled up or down to consign 'pitch' to the memory of the computer, to be understood in good time by the willingness to play on, so as to play by the intervals of notes (solfege) from the very beginning. Centralizing the keynote makes for easy sight-reading of 'solfege' and needing only the display medium of the instruments to identify their space on the instruments to finger. The present system may indicate whether center or off the center is the better-fixed level for DO with trials, over a range of instruments, and in some cases the solfege would be scrolled to the staves. The depiction of note-wave segments as initiated for the A/V system of notation, is intended to evolve from a workable software prototype module, (with fluid colored solfege note-waves to run on mellow colored half note spaced staves to a 'play time' Axis line on screen) into many dimensioned presentations of application features after downloading a core data of digital sound waves, from a classified web-library. Two sets of unchanged rainbow colors are to represent solfege (DO, RE, Ml) note-waves and pitch (A,B,C) throughout the system, to avoid misreading colors.

PITCH STAVES in 12 half-note stave spaces per octave that do not use conventional lines, have fixed mellow tinted colors for the 7 pitch alphabets (naturals) - A,B,C,D,E,F& G, throughout the system, with their respective sharps or flats spaces, horizontally lined, of which only the seven pitch staves for solfege of the keynote chosen would be shown in color while the five remaining staves are non-colored in shade between black and white with two black/dark staves for the 'unused' staves in a diatonic formation with pitch color graphic representation. The diatonic scale does not use sharps and flats together in scale formation.

The option to use vertical lines for either sharps or flats may have its benefits, which must be seen along with a unitary system encompassing 'chromatic' variant scales of the fixed 'DO' where double sharps or flats may be shown as vertically lined staves in the color of the natural alphabet pitch. Dotted staves, or other identifiable graphics may be used as variables to be determined by theorists/artists and programmers for best configuration of graphics to the halfnote spaced staves with the diatonic scale as the front runner in a unified graphic system.

SCROLLING - The main feature of the staves is that it can be scrolled or shifted to put the keynote pitch into a 'central' stave position with the higher and lower pitched keynotes at the top and bottom covering the octaves (needed) and still be frame adjustable if deemed useful - with the keynote Off-center'. In some cases, like staves aligned above a keyboard, on a fixed panel screen, the solfege staves are scrolled or shifted to the keynote. With the standard keynote DO's note-waves, of a standard color throughout the system, on the 'central' staves with the rest of the solfege also aligned in their fixed colors, at the same stave levels, all the 12 pitch keynote can be read as one, for instinctive play of the colored solfege note-wave location, varying only by the pitch degrees of the type of scales used - MAJOR, Minor, Melodic, Harmonic, Chromatic etc. - For example, a piece played in A-Major or D-Major ^' would read the same, except the stave colors would be scrolled different which essentially makes 'Pitch' (A,B,C) academic, for the relevance of moving solfege positions that are abstract to be easily seen as the driving point of music, with pitch alignment taken care of and yet always defined clearly without needing clefs or symbols for an A/V standard setting to read the movement of music effortlessly as one common practice.

A title box/frame in the mellow color of the key note used could graphically/literally state the type of scale and other details with the note sequences, as recognized by the computer, to alter the keynote box color or frame. solfege (DO, RE, Ml) note-waves are at mostly fixed stave levels in standardized colors and are to be appropriately large and bright on the scrolled mellow pitch colored staves to maximize the wide of possible reading range.

A NATURAL minor scale (of the fixed DO) is identified by flattening the Majors Ml, LA and TI, giving minor's pitch colors to the three gray staves of the Major's usage, leaving the Major's Ml, LA and TI as 3 off-white staves with pitch identification colored lines if either sharp/flat when used as minors, with the remaining two staves left as 'black' staves, 'unused' in both Major or minor diatonic usage, with identifiable color representation lines as well.

A HARMONIC minor scale variation only sharpens the Ti of the natural minor scale going up and down, giving the original Major's TI color to that off-white stave, and is to be appropriately shown in crossover stave representation by the coloring system and visual effects to be woven in a structurally meaningful manner.

A MELODIC minor scale in the intended usage, would have the La and Ti of the natural minor scale, alternating with the LA and TI of the Major's usage with black pulsating staves or fret boxes (when not to hit) which depends on the 'sequence' of notes going up or down the pitch, which the computer can recognize by the last note struck, which could be a directive feature even for chromatic variant scales, where applicable - with the distinct possibility of computers being able to tell the solfege in crossover usage, like grammar is explained while typing.

GRAPHIC REPRESENTATION OF STAVES pitch colors, as they change in usage with black, grey and off-white (non-colored) staves would need to be classified as usage potential in graphics and effects.

Black, Grey and off-white (non-colored staves) would also show its pitch by thin but noticeable horizontal lines for sharps and/or flats (they are never used together in diatonic scale formation). An alphabet-pitch (natural without sharps or flats) that is a non-colored stave, could reveal its pitch color by merging (about a quarter of the stave) from below, to show the horizontal lines above as sharpened, and the merger from above a non-colored alphabet stave, would show the stave below as a horizontally lined 'flattened' stave, making the system devoid of 'hypothetical' accidentals, that now stand out graphically in its true value, with the solfege notes that can skip the staves, given the staves colors before the notewaves to show they jumped the scale by music orientation programming (augmented/diminished) of theory in clear, studied graphics of the sequences played. A non-colored sharpened or flattened stave, with thin pitch identification colored lines that becomes colored may maintain thinner non-colored lines, with broadened colored lines to show the changeover, in front of the skipping note- wave, in all the relevant aspects for both man and computer.

Stave representation lines are to establish a thickness ratio for the crossover scale usage e.g. 1 : 4 or 1 : 3. A grey stave would show the pitch indicated by the colored lines thickness as equivalent to (1 ) part colored of (4) parts of grey thickness ratio, and color revered in crossover usage. The same principal maybe applied to naturals without lines (i.e. without sharps and flats) using a quarter stave merger identification color or graphics below a non-colored stave, in a sharps based scale, and above the stave, for a flats based scale.

This overall concept with the necessary graphic modifications is to initiate a starter for the evolution of a comprehensive A/V stave formation with the present invention, that is intended to be played upon more by instinct than the need for memory power or theoretical knowledge to begin with, but to be invariably picked up in due course, confidently by just musing, to quickly understand the essentials of musical structure through common systematic use, that could expand the diatonic scale graphics into chromatic scale variations in the fixed DO.

GRAPHIC REPRESENTATION OF WAVE SEGMENTS

A standard spacing for the solfege note-wave's volume stretched 'wings' and segment width in relation to the pitch staves is to be determined in graphics trials.

Colored solfege note-waves could be assigned 'dominant' use of its own stave, and marginally use the staves above and below to spread its volume 'wings', so as to be large enough by sharing space to maximize a wider reading range and it may also directly reflect the intimacy between half-notes or full-notes. A note-wave segment's volume stretched ends, may be linked up as a 'contour' of the duration with a hollow center to settle overlapping notes or crisscrossing of note-waves for an orchestra sheet or big screen, with each instrument (or group) given a fixed contour color (solfege not an issue at that level- but still can be connected to the instrument's own P.C for solfege)

As an ultimate graphic test, a hypothetical case of 3 piano half notes abreast, struck together in maximum volume, should be represented precisely and clear enough as they merge with each other for the best optics. In practice though, the average volume would be about the width of the stave and not often used together, with the gaps provided between bright segments being the key to accommodate criss-crossing/overlapping note-waves and is to evolve the graphics through trial and error - usage - improvisation - updates, from the design options coupled with technologically feasible innovations for finesse.

TIMING - Volume stretched segments adjusted to the maximum volume range, could stay within 3 stave spaces (irrespective or external speakers) to link up to form the exact duration of a note (unlike rigid conventional note divisions, with symbols and still needing a tutor or conductor). Each segment may however be calibrated from a standard division of a whole note - e.g. Semi-quaver (the 16 ^th part of a whole note) or the Hemi-Demi-Semi quaver (the 64 ^th part), whichever gives the best optics, to snug notes clearly between staves and 'paced' pleasantly with the likely use of minute short duration bright vertical lines, for the sub division of a segment, which would show up at the ends of each note-wave for precision but mostly inaudible or unnoticeable, when fading away.

A quarter segment of the 64 ^th part could be the smallest 256 ^th part of a whole note, with the thinnest, brightest, vertical 'white' light, with the half-segment being the 128 ^th part and can even show the ¾ segment in an identifiable feature, so that, with such precision possible, innovative devices would need to be constantly introduced to read sensitive touches and differentiate notes struck by a bow, or sustained (which could be shown as a fading mist of dots in variable intensity for duration, with 'images' of segment lines and gaps), which is the type of fine tuning the system would need to pursue along the way for finesse with other features by integrating the sensors, cameras, speakers, microphones etc. into database.

An eventual ideal would be the trumpet's continuous phrase, running across the staves solfege color zones to maintain a fine-balance on a desired pitch color at will (without audio play back) by understanding what it would take for direct sound frequency to be scripted, with a promising system with the electronics of today and what is to be.

A range of common graphic markers, creative metronome beats, flashes, buzzes, fill-ins etc. can enhance the instant learning process e.g. highlighting the dominant 5ths or buzzing an inappropriate note and even questioning a note sequence.

These broad outlines are to be tinkered with for the best presentations by scholars for a practical build up of theory into charts, note-progression, chord formation etc.

NOTE-WAVES ON STAVES

1. Each solfege colored note made of segmented waves lines, has one stave space as its center, with the staves above and below to be marginally used(if and when needed) to show the volume stretch as 'wings' sharing space when touching each other depending on whether another note is using the immediate space above or below as its own. Notes that are to follow could stay recessed between the gaps of the preceding notes as a standard feature after trials. 2. Vertical gaps that allow other note wave colors to weave between segmented lines, may have a standard time together i.e. Gap and one segment line is equal to one unit of calibrated segment time - to be assessed, in calibration exercises.

3. The numbered octaves or stave spaces would be flexible, to the range of the instruments, without clef divisions, with the centralized 'DO' color, marked out distinctively, if adjusted off-center. 4. Graphic designers have to merge the closely packed, but large segment lines, whenever grouped closely, for best clarity and wider reading range, considering space usage added to cater for all half notes, which adds marginally more space than the conventional usage of space, which in colors and at the axis point, when enlarged to the size of the screen, should be more than welcome for the gains of 'direct' reading of notes, as one common stave for all instruments, scales and octaves, doing away with clefs and symbols altogether. Closely packed note-waves should show the relative intervals of close proximity notes clearer, than small, spread out note-waves, that take up more reading space.

5. Excess volume may even be captured, by 'white' awareness lights opening at the center of the wave segment, if need be, as an option.

6. In a diatonic scale either sharps or flats are used to form scales, so they can both be shown as colored, with horizontal off-white lines (dashed/dotted lines may need to be used to indicate flats, only if deemed essential). Vertical lined staves may be used for chromatic double sharps and double flats, which are to be assessed as a whole, by scholars of music. 7. The 'centralized' keynote may be spaced off center if tangible benefits are derived in the present invention, as it may disturb a comfortable centralized position. The Keynote space however, may be marked appropriately with distinct graphics.

8. The note-head may be used for other purposes as indications, e.g. which finger or string, to use in the space in front of the note-wave, until it reaches the Axis point where it can show volume by stretching a white volume bar backwards on the staves.

9. The digital data relationship of space touched on the fingerboard's grid display medium is synchronized to the volume from each strings pick-ups that also registers the duration of the wave segments, to show up music movement precisely in metered gauges on the monitor. The data of a tune can then be converted to a different keynote, octave or instrument with a format change, from one standard database for scripting and editing, to be perfectly executed by a composer/conductor on-screen.

The 'fixed' DO for minor scales, that is preferred by music composers to work the relationship of notes better, to skim the ingrained temperamental flavors 'off both Major and minors, with accidentals, was cumbersome to read and notate with the double sharps/flats and naturals on clef signatures, which can now be consigned to the computer memory while we read it plainly, with graphic stave representation in colors and lines without fumbling, if programming is well- organized - which can open-up the game to amateurs, which may see the 'movable' DO that seemed easy to relate, being less used.

Half-note spaced staves in any graphic presentation, is incomparably ideal for wholesome interaction into a whole new dimension to shape the future of notation with real-time music movement, for an even more fluent blending, of intertwining functions Audio Visually as can be perceived, so that anyone can play proper music with reasonable cost, quickly.

SCRIPTING MUSIC

The present system of notation, as the 'mode' to script music Audio Visually efficiently for different integrated usages would essentially use the same A/V graphic systems, for successive tracks to be laid over a common time frame. The pre-recorded tracks play released by the digital speaker's source (Axis point) from a computer display and the sound as played from the connected instrument that is wired onto speakers/headphones, and can be viewed by activating a script mode that could slide the Axis line from one end when used for sight reading, towards the middle of the screen, to view the instrument's play beyond the 'play time' Axis line, whence it merges in time with the pre-recorded track, to be recorded by a digital registerd source (simultaneously at the Axis point for programming) with the fingering grid line related color graphic data -digitally recorded along, to be captured as moving colored segment waves in precise volume and duration.

Complex tracking features could well be simplified and condensed into P.C., the way so much has already compacted into smaller, more efficient motherboards, so as to 'stack' tracks on a time frame, put in, take out, volume control and edit any layer, in a choice of 3-D visuals for different usages. The present system to layout the best methods of efficiency to be undertaken.

Example of usage from the web library; One may choose a quartet and want to play the 'Viola' part, by highlighting that track in solfege colors (while the other instruments are each in a blurred fixed color), adjust the volume or speed and play out a different phrase or style, on another instrument or octave for a new track, and if cleared by the library keepers, can be stored alongside, and even improvised by others.

The best configuration for a practical, user-friendly usage, is to be derived from an in-depth study into the technical possibilities based on the half-note staves notation and coded for keyboards and bowing/fretted instruments, which should initially cover the core music needs to eventually expand across music notation systems and instruments with a standard A V system. The main areas in the present system to build the software, for scripting: (1 -1 1 )

1 ) The screen height/width and 3-D depth, to view incoming phrases for sight reading and also to view the recording beyond a movable Axis line for scripting or with a time squeeze of the wave segments as they appear.

2) Long passages may be play-scripted into thin stave lined tracks to be enlarged (by 'pegging'), to view parts for editing, sight-reading, or re-scripting.

3) Notes played on an instrument, register as note-wave data, when audible volume is picked by sensors into a digital microphone, sourced from 'under' the strings and not just the touch of the fingerboard or keys.

4) The right pick-up sensors for precise data may vary, with the acoustics we would like to hear and would need assessment at what points, sound mixing can be done to be precise and/or pleasant, by a study of live performance settings that are unique to itself for layered controls of sound, from instruments, to speakers, microphones and auditorium surrounds.

5) Multi-touch sensor screen-boards with close knit pitch-registered grid lines in solfege/Pitch definition (color) may form a unique keyboard or violin setting to be swiped over for a seamless run over the notes, in touch volume variance to simulate A/V scripting for blowing instruments that may be accessed for scripting near the Axis line, when the sound cannot or need not be 'tapped' directly into a computer, like wind instruments, that have knobs or holes which have a standard solfege already cut out into the 'tubing' in its solfege/pitch range. The simulated recordings may be superimposed on tracks by the wind instruments to sync (Auto-tune) closely with the script, if 'raw' pitch sound frequency cannot be instantly registered as solfege on-screen as desired.

6) A musician or core group could be well versed in multiple instruments through this system to generate a visionary togetherness in music movement to compose pieces, portion by portion to a desired perfection and invite orchestral accompaniment into a larger tracking field, by sharing data accurately and easily via internet. 7) The 20 milliseconds needed to connect meaningful live performances via Internet across the world are being 'chipped' away but appears 'distant'. This system could fill that void with a 'blessing' i.e. accurate scripting to be built on tracks to re-work at will in a clear time frame. To a singer, it may still feel like doing a karaoke without an accompaniment building togetherness, but would build a fuller groundwork until 'real-time' play is possible.

8) Pitch differentiation readings tend to be inconsistent until the frequency balances out the string oscillation, for a stable reading, which seems to take time. To 'sieve' data for note sequence evaluation instantly, which is at the heart of filtered music orientation programming of music theory, the sensor touch on keys or fingerboard may be the practical option to call out the solfege of note sequences within its scope, like spelling and grammar is, while typing phrases - until sound frequency can 'think' out Scale/solfege spontaneously. 9) Conversion of black and white line/space scores of old with clefs and symbols from the web library with its vague duration and volume notation limitations into half ^: note spaced staves, would invariably have to be played out by artists with the appropriate attached references to enable others to play it in their own style/variation with improved precision, on timed tracks for constant improvisation, which could see long forgotten pieces played out with the intensity/flair, even beyond the conception of the grandmasters who could not visualize movement or theory nor record and share as we now can.

10) Recording/Scripting would produce graphic data shown on the fingerboard display's grids touched, springing out colored note-waves (as data) of segment lines from the white volume bar, to run down the fingerboards, for the length of the duration, with white segments when outside the volume bar turning back into its solfege color, while leaving its 'home' colored fret box to run down the fingerboard, a given fret distance, to fade out/disappear in a set time. This, when reverse played goes from the same given fret distance up the fingerboard, lighting to be hit when the white volume bar appears, assuming it runs around the screen - as a 'loop' back to the Axis line, for any chosen section of the piece/track.

This basic concept when expanded, should incorporate sliding notes at varying fingering speeds as volume based, white flashes - with colored segment lines, and for other types of movements, where the present system is able to capture the finer touches on the fingerboard, with the appropriate sensors, to tell sustained or held notes, with probable mathematical string-stretch formulas, coded from the grids, to tell solfege, when bending a string on a fret/gridline.

1 1 ) The screens would be of different makes and sizes to compliment the instrument and/or the purpose. The computer's digital speaker source and the digital microphone source, connected to the instrument (external speakers excluded) would be the defining Axis point of programming, visualized as the Axis Line, with the finger grid position graphics. 'SCRIPTURE'

'Scripture' refers to the stored knowledge of the computer to 'sieve' (filter music orientation) data of phrases played back to the screen automatically, while playing, to clarify ^' music graphically, as a structural language of variable intervals/frequencies, with the attached features of notation as programmed.

Just as when typing a word the 'computer-capability' recognizes a letter, not in the entire vocabulary instantly, to graphically show up on screen with the probable alternatives, and even tell the reasons for grammatical errors, in faster, cheaper, and more efficient systems - an Axis line, likewise, once established to record A/V running solfege notes waves on scaled stave positions, (with diatonic scale) as a front runner to lay out graphics for different scale variations) in precise time, in lively graphics of volume and duration depicting music- movement, can be ultimately programmed to 'scripture' music, as they are played on a connected instrument to be seen on screen, for its worth, in solfege sequencing, scale indications, chord progression, pitch frequency, timings, color, graphs etc. to nurture music creativity. A beginning with manual editing 'tools' built in to tab graphic representations of music data, on a replayed recording can, by repetitive usage, induce the most apt programming system's applications, best suited for delineations, scanners, color-filters, timers, auto tuners etc. as would become apparent, with the 'scripture' eventually telling inappropriate notes of a sequence with the alternatives, corrections, of chords, scales etc. while playing, to be shown graphically on/off the staves, or on a pitch colored title band in the key-note color, which may be framed when in minor usage, or by well thought out graphics for melodic, harmonic and even chromatic variations, with pitch-frequency gauges, auto-tuning, calibrated speed levers, which are mostly in use, but diversely, waiting for a level playing field such as the A/V system created staves, with colored note-waves running on scrolled colored staves into an Axis line to be read, played and/or recorded with precision and clarity as never before.

The 'Scripture' could eventually cater to any type of scaling system, from East to West, diatonic, pentatonic, chromatic, ragas and even 17 & 19 equal temperament divisions etc. - any music that recognizes intervals, structured within octaves, is the true understanding, of the value of notes.

With reference to Figure 5, Major's colored mi, la and ti when flattened, changes the would-be minor's gray staves (shown as circled mi, la and ti), into color leaving the Majors Ml, LA and Tl's off-white, and when the minor scales (circled Mi, La and Ti) which is colored in minor usage, is sharpened it changes the Major's off-white staves - back to color. This may be done with individual notes, without altering the scale - or as a whole whenever the sequence is deemed to structurally change the scale, which can be setup by filtered music orientation programming to be graphically represented on the title box, to show solfege changes while playing through all the notes (avoiding the two black notes of the diatonic - unless deliberate) for the temperamental feel of the flavors, off the ingrained scale variations - with the computer to eventually tell its quality, which may be judgmental or even acrimonious until a wider usage and the clarity of the system itself establishes the finer grains of note sequences, which would be a step away from free-flowing chromatic variations in the fixed DO, using the established A/V graphics of the diatonic scale, with its own tabulation adjustments - e.g. double sharps/flats as vertically lines staves, with its own range of colored/ non-colored (and dark) staves to be well represented in changeover (accidental) usages, with even the note-waves graphically color toned..

AUDIO VISUAL PITCH FREQUENCY SCRIPTING The 'halfnote space' staves as initiated seems the ideal fluid base to evolve creative finesse for music's subtle movements to bring the sound and script ever- closer, for A/V notation to free flow music movement practically on staves. A monitor display of the note-wave's movement on staves relayed from the grid's touch sensors, along with the pickups from each string that activates scripting when struck, would show solfege color fixed even for a string bent to a higher pitch on a fret which should read as 'transcending' solfege on the staves, and would then need the finger bend of the string at each fret to be programmed which may be possible, by mathematically formulated 'degree-bend-coding of the gridlines touched, to be given proper solfege definition- especially for fretted instruments. Keyboards do not bend the notes.

Another option to establish pitch on staves is by the built-in sound-frequency sensor's from strings itself, feeding computers with 'crisp' multiple frequency readings from each string, to churn out solfege instantly on the screen, which would need to show where the finger is 'fretted' on the staves by attaching graphic indication, to the stretched solfege from fret positions, verifying the source of the sound from the space touched.

A common limitation of frequency reading sensors (tuning-device) to work clear and quick seems to be the time it takes for a string, say, plucked at one end to settle the oscillation at the center for a stable reading. Understanding such wavering acoustic realties would be a bountiful study, to produce the appropriate device that could free-flow note-waves directly into its natural solfege on staves.

Piano strings that do not bend, have a definite pitch and could use the 'modified' pick-ups as grids connected to the computer, without the need for a sensor-touch keyboard to register solfege chosen for the keynote. Recognizing that sensitive pick-ups of un-played string vibrations could leave un-wanted 'scratches' on the staves, it may be prudent to activate scripting, with the sensor touch or depression of a key and/or negating 'inaudible' volumes, which could also disturb good resonance for which acoustic and precise digital sound's may be sourced differently into a built-in mixing process of choice. On the other hand, just keeping the fingers on the keys, should not activate scripting, until the pick-ups are activated, which the type of finer issues to be assessed in fully is set up trials.

A study of relevant opinions and divergent views by experts to find the best configuration for different instruments and systems, to be read as one, would confront the teething problems as mentioned, when setting up a working build-up of the software apparatus to test a frontier that could well be the greatest game ever- using real instruments to fire precise lively sound that reads out the play for improvisation and sharing.

The furthest boundaries of computer music capabilities that can be grasped even by a child would have been touched, if the method that scripts music movement by just playing a piece with a computer connected conventional instrument, to edit and share through the internet, opens up unknown avenues in one grand awakening to expedite the present system, that gathers in the knowledge for a renaissance of electronic proportions, from a glorious painstaking built past, smoothly, into a common moving language.

COMPUTER DISPLAY TYPES

The different computer display types would include;

I - Movable laptop types placed or connected to a keyboard or clamped over a Bowing/Fretted instrument, with either solfege or pitch scrolled.

II - A wide, fixed screen panel, just above the keyboard aligned with the keys, could have fixed pitch colored staves, placed above their respective keys with scrolled solfege. III - Big screen for an orchestra or music class with each instrument or 'group' having a specific color (with the option of an instrument highlighted, in solfege) that have the wave segments volume stretch-ends linking the duration as a contour in clear, balanced graphics for very often overlapping or crisscrossing of note-waves with the connectivity option for each instrument's P.C showing solfege.

IV - A composer's screen would cover the full 88 (more or less) keys of a keyboard with touch screen features that scripts for high and low octave instruments and should also be able to simulate for blowing instruments.

V - Hand phone Apps connected to the display fingerboard arm of a bowing/fretted instrument that can, transfer data with sufficient sight reading before play time on the display arm.

VI - Touch screens as an instrument itself that registers volume from fingerprint spread/depression, where pitch is assigned to color locations in different instrumental formats, even for toddler sizes.

VII - Smart T.V's connected to the instrument remotely or wired with sensors to even record dance movement in solfege or play the drums on air with infrared sensor cameras. VIII - Curved glass fingerboard display of bowing and a flat screen for fretted instruments that can graphically show sufficient incoming note waves, progressively clearer before play time from built in memory, or other digital sources. IX - Hand phones with larger screens with compatible features to see, hear and play over mobile grids that center the finger playing area using the software system where even bowing action could be a slight tilt of the screen and volume registered by the finger spread over the grids with preferably thumb rest anchor as enticement to want a real instrument experience. Other variable displays to suit 'half-note space' usage e.g. a display strip for a 'harp' is possible with others using it in some form or another.

MONITOR SCREEN ON CLAMP FIXTURE The appropriate, cost effective touch screen computer display that delivers the system can be fixed to the instrument itself with a detachable clamp anchored at the best pivot position with an external screw/latch (to detach the monitor for packing or to use with battery power, or other digital sources to work the medium) and is directly connected to the medium via cable or wireless, with the distance of the screen to the eye adjustable, covering most eye comfort ranges, and may be adjusted/squeezed down with a simple lift lock, as illustrated to keep the monitor well anchored, with optimal strapping, under one armpit and over the other shoulder, with comfortable rest pads on the chest at the ends of a pair of curved flexi rods for violin and shoulder strap and waist hook for guitar, all of which using light weight materials where ever possible.

KEYBOARDS

Using computerized A/V notation to play on keyboards would have 3 methods of application to be understood.

1. 'Screen boards' - The computer display (laptop) is the touch screen instrument itself. 2. Computer display Placed-Over-Keyboard (P.O.K) or a fixed panel above the keyboard - connected for scripting with modified pick-ups as grids. 3. Keyboards with leveraged keys, having display strips (on the keys) that are wire friendly or wireless. (i) SCREEN BOARDS- A prototype software 'screen-board' to understand the notations A/V functions for different instruments would be the basis for a laptop as a musical instrument for beginners and children, with sensitive touch screen that tell volume by the spread over the pixel or depression of the fingertips, where mellow colored staves ferry solfege colored note-waves into an Axis line 'above' the keys to be hit on time as illustrated in Figure 5.

The screen board could use the notation system to create other instruments on any computer display compliant to the software that assigns pitch to its representative color zones with a choice of tones, octaves and keynotes. (E.g. closely knit pitch-grid lines to swipe over as a seamless violin format, flexible to finger sizes or format creations). The note-waves should have sufficient sight- reading time and the 'keyboard' itself can show fingering graphics in mirror-image to be followed. This should give the confidence that anyone can play music, and thereby get an instrument to come into his or her own.

(ii) A P.O.K display screen with mellow colored staves is to be aligned above a keyboard, by finger spread enlarging/squeezing, with some alignment variance of the gaps between keys (if not custom made), but equaled over the octave, with the solfege scrolled to the fixed stave colors, if a fixed wide panel screen is used.

- A P.O.K display screen seems best suited for the key functions of notations to work and play practically on a real instrument, although it would need to be modified to have pick-up sensors compliant to the computer's digital microphone source for recording the grid registration of the keys, played along with the digital speaker source simultaneously on the 'Axis' point for programming. The space above the keys could have the staves super-imposed with mirror-image fingering/shadow-image or outlined. The black keys may remain. (iii) The third option of leveraged keys implanted with display strips may seem impractical unless simple 'display-tapes' can be wirelessly cut and fixed on/into the keys, in some near future, which would allow mirror-image fingering above the keys, and other marginal advantages. No black keys. The present system may extend the usage for infant's keyboards, with colored lights, inside transparent keys as an option, preferably with attached screen.

A direct connection for computer and/or keyboard volumes into headphones is to be assessed, in today's tight living spaces, with clear warnings of ear-drum abuse to oneself and others.

Held-notes (e.g. bowing) and Struck notes (e.g. piano) can be played by dividing the octaves into sections for a 'Cello' at the left or a Mandolin on the right, to compose for an orchestra with beat choices on instrumental tracks, which would make the pianist, the ultimate composer, covering almost all known pitch ranges of instruments and 'simulate' for most instruments.

The guitar's range is considerable, and expandable, which can now be easily read/scripted in transferable data formats, with easy access across the octaves. Because the screen is placed 'low' over the keyboard it maybe better sloping the keyboard downwards, with screw lift stands at the back, for better positioning options.

The present invention may be embodied in other specific combination without departing from its essential characteristics. The described embodiments are to be considered in all respects only as illustrative and not restrictive. The scope of the invention is, therefore indicated by the appended claims rather than by the foregoing description. All changes, which come within the meaning and range of equivalency of the claims, are to be embraced within their scope. In all cases the description best applied to any peculiarity is to be accepted if found elsewhere within the context as apparent.