SYSTEM

FIELD OF THE INVENTION

The present invention relates to an audio visual color coded notation system. In particular, the system converts the play signal obtained to and from a device and sensor grid of a musical instrument having display medium as flowing solfege notewaves.

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 key- note '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, starts almost instantly, with an Audio-Visual (A/V) notation system, using a plurality of colors to show music movement precisely, that conventional scores have been ambiguous about, with the musical instruments that are capable of intimate usage, to play spontaneously , as presented on an A/V system with the ability to script while playing, and transfer a common data across keynote scales, octaves, instruments, vocals other music systems with practical, user-friendly display screen features. Summary of Invention

The system for providing an audio-video color coded notation to convert music movement signal obtained to and from a device and the sensor grid of a musical instrument's display medium 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 a system having capability to produce a musical signal, comprising: a means to illustrate a pitch in a musical order, wherein the musical order represented as data, having a plurality of colored and non-colored stave, fret or segment positions, in octaves, wherein each natural pitch alphabet or solfege syllable or any combination thereof is assigned with a predefined color with its sharpened and flattened staves, frets or segments having graphic representation in their associated color; a signal having a plurality of volume stretched segmented graphic registered throughout the signal and number of the segmented graphics as a continuous grouping registering the duration of the signal; and a converter module to transmit the musical represented data to the means, producing flowing signal audio-visually along a predefined position for the pitch in the musical order to be played.

Preferably, the pitch of musical order is a keynote pitch.

Preferably, the signal is a flowing notewave.

Preferably, the segmented graphic is segmented lines.

Preferably, the pitch of musical order shifts in relation to the colored and non- colored stave, fret or segment positions relayed as moving or changing colored pixels on the means for visually representing the signal along the related position. Further, the system comprising a device connected to the means having capability to produce a musical signal being played. Further, the means has capability to produce a musical signal being played.

Preferably, the means is a mobile phone, smart TV, tablet, monitor, processor, or computer. Preferably, the means is a musical instrument with a display panel or an electronic musical instrument.

Preferably, the means is made of fret lines that will be boxed as a block between string-way divides with the strings centered above the boxes.

Preferably, the fret boxes of different sizes have a proportionately equal number of grids horizontally and vertically per box for a standard data flow of volume and duration receptively of the signal. Preferably, the grid line of the pitch is registered into the means with a frequency sensor or tuner.

Preferably, the means is a display medium further includes a curved profile with printed pixels of the string-way dimensions for bowing or a flat profile for fretted instruments.

Preferably, the solfege colored fret boxes and are in mellow, tinted colors for the fret lines and bright solfege notewaves to be prominent. Preferably, the means is able to sense and register the movement of the string, to the grid positions set in the means for demarcation of movement. Preferably, the grid transferrable data of stave, fret or segment is of 12 half-note spaced divisions per octave. Preferably, the converter module further produces an axis point which is relayed as an axis line or indicator for identifying playtime.

Preferably, the converter module further defines seven colored and five non- colored graphic represented divisions for a diatonic scale with other combinations for chromatic scales, ragas or any other applicable system of scaling.

Preferably, the converter module further produce a pivoting axis point for releasing the gathered sound, while gathering new sound simultaneously in any combination thereof from any connected means.

Preferably, the means include a bowing and fretted instruments using the system so as to be able to transfer data across staves, frets or segments divisions.

Preferably, the means include a keyboard and screen-board instruments using the system so as to be able to transfer data across staves, frets or segments divisions.

Preferably, the keyboard with grid registered strings or keys connected to a display placed over the keys has a data graphic to differentiate various instrument from a full octave range for modulated orchestration and transferred into staves, fretboxes or segment formats to be played on another instrument into a synchronized tracking system.

Preferably, the means include wind instruments using the system so as to be able to transfer data across staves, frets or segments divisions. Preferably, the means include a vocal cord using the system so as to be able to transfer data across staves, frets or segments divisions.

Preferably, the means is a transparent composite cut-out from extrusion pipes to the curvature of bowing instruments.

Preferably, the converter module further transmits the musical represented data played to another means in its receptive mode corresponding to the musical represented data.

Preferably, the system is a web-based computing resource.

Another embodiment of the present invention relates to an apparatus having capability to produce a musical signal, comprising: a means to illustrate a pitch in a musical order, wherein the musical order represented as data, having a plurality of colored and non-colored stave, fret or segment positions, in octaves, wherein each natural pitch alphabet or solfege syllable or any combination thereof is assigned with a predefined color with its sharpened and flattened staves, frets or segments having graphic representation in their associated color; a signal having a plurality of volume stretched segmented graphic registered throughout the signal and number of the segmented graphics as a continuous grouping registering the duration of the signal; and a converter module to transmit the musical represented data to the means, producing flowing signal audio-visually along a predefined position for the pitch in the musical order to be played.

Another embodiment of the present invention relates to a method to produce a musical signal, comprising steps of: illustrating a pitch in a musical order using a means, wherein the musical order represented by assigning a predefined color for each natural pitch alphabet or solfege syllable or any combination thereof, with a plurality of colored and non-colored classifications in octaves, with its sharpened and flattened staves, frets or segments having graphic representation in their associated color; 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; and transmit the musical represented data to the means using a converter module to produce flowing signal audio-visually along a predefined position for the pitch in the musical order to be played.

Another embodiment of the present invention relates to a system for providing an audio visual color coded notation, comprising: a device or musical instrument for producing a plurality of signals; a display medium connected to the device or musical instrument for displaying the produced signals; and a converter module to convert the music movement signal obtained to and from the device and musical instrument as flowing solfege on pitch represented stave positioning in octaves, characterized in that the pitch represented staves having a plurality of colored staves, wherein each alphabet pitch (natural) is assigned with a color and each solfege colored notewave is made of a plurality of segmented lines, in which the stretch of the segmented lines register volume throughout the note, and number of the segmented lines as a continuous grouping, registers the duration.

The present invention consists of features and a combination of parts hereinafter clearly 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 the present system build up for scripting.

Figure 6A illustrates a diagrammatic audio visual connectivity concept of one embodiment of the system. Figure 6B illustrates another embodiment of a particular instrument using the system.

Figure 7 illustrates one embodiment of present invention having fundamental graphic representation as may be displayed on a fingerboard display panel.

Figure 8 illustrates another embodiment of present invention having a fundamental display of graphic representation encoded into data that may be displayed on a monitor. Figure 9 illustrates one embodiment of graphic representation of notewave for music movement. Figure 10 illustrates touch screen connectivity options.

Figure 1 1 illustrates one embodiment of a glass / plastic extrusion pipe.

Figure 12 illustrates a body mold of one embodiment of the present invention.

Figure 13 illustrates a detailed view of the body mold of one embodiment of the present invention.

Figure 14 illustrates one embodiment of a clamp fixture that can be latched or fixed to a musical instrument.

Figure 15 illustrates one embodiment of a fingerboard of fretted instruments.

Figure 16 illustrates the cover with a touch screen computer or display panel screen.

Figure 17 illustrates one embodiment of multi-graphics used for wind or blowing instrument.

DETAILED DESCRIPTION OF THE INVENTION

One aspect of the present invention provides a transparent scratchproof curved hard glass or plastic composite fingerboard replacing the conventional wooden fingerboard. Hard glass or plastic could be a good choice, even with metal strings for pure sound to be modulated electronically.

Preferably, the glass is curved above the pixel laid curvature of the display medium for bowing instrument and flat for fretted instrument, and able to display color changing signals, as is seen and relayed simultaneously from the source such as hand-phone, thumb-drive or monitor-screen connected to the instrument's display fingerboard.

Depending on the right underlay, chosen as the medium which can vary for different instruments, it is preferably evenly positioned, propped or fused under the glass and 'clamped' together with fixtures, to slide press and glue into the fine cut side rails of a prefabricated body's arm as a set, preferably complete with processor connected circuit board to run round the medium if need be, with a socket for a cable to be plugged or wireless to or from the monitor screen, for mass production in a cost effective manner, with the essentials intact, for the users to exercise their own creative choices.

The present invention also may provide dual audio channels from device, monitor screen or other sources and from the pickup's sound from the instrument separately wired through the body of the instrument, with adjustable volume knobs, either of which, to be adjustable and transferred together to the headphones, with built-in and external speakers option.

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 that have scrolled or shift 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 finger board 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, and as playtime indicator on the fingerboard display, 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. The bowing instrument comprising of:

31 . Colored pixel lights on medium and monitor screen (Seen by user)

32. Detachable Clamp Fixture

33. Wireless/Cabled Monitor to/from 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/ under other armpit.

Having noted the potential ease to pick up playing skills, as conceived above, the present invention may evolve from video games software techniques, to work old instruments to an infinitely higher degree of performance.

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. For script/recording, the 'Axis' line is adjustable further up to see the played notes over the axis line.

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.

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 of edited, if need be. Figure 5 illustrates one embodiment of the present system build up for scripting that would evolve from the basics - A. For Reading (61 ) the score (without recording - produced from the same A/V system), the AXIS line (63) 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 (62) (a fresh piece) out of an AXIS line (63), 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 (63) (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' into 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 should be aligned over the keyboard.

Preferably, a piano can be implanted with volume sensor as grid with key/string to connect the appropriate screen-board software.

Preferably, the Computer to record the play-along instrument at the Axis line is performed through the 'digital' microphone pick-up sensors with grid location, from strings clocked together, with the digital speaker's output on separate tracks 'simultaneously' to be assessed and edited as need be. 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 most instruments. Preferably, that staves 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 individual or mixed tracks for un-interrupted play over and over again, without resetting, for practice to perfection, without a recording studio. Figure 6A 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 or keyboard gird reading in computer data or visuals with sound from pick-ups.

83. Preferable Plug and Socket joint.

84. Headphones or Built-in Speaker option.

85. Preferred Sensor or Pick-ups from any connected instrument.

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

87. Audio connection from Computer.

88. Audio connection from Sensor or Pick-ups from instrument or device.

89. Selections switch 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 (any alternatively a computer source).

Figure 6B 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 is too simplistic to set into computer laptops and must be better sourced, with the necessary sound-modulation hardware/software components, with good digital 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 finger board and staves, while it is solfege (DO, RE, Ml) that needs to be found on the fingerboards/keyboards to play, and on the staves, frets and segments 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 made of 12 tinted, mellow colored half-note divisions of staves, frets or segments in octaves (seven colored and five non-colored for a diatonic scale) on the device, monitor screen, or fingerboard display with sharps/flats graphically represented by shifting the keynote into a predefined position (DO) with fretboxes, staves or segments displayed in their standard colors, at recognizable positions on the monitor, which is instantly relayed and shown on the connected fingerboard's display medium (where applicable) in A/V solfege color as moving notewaves, on mellow, fixed, solfege-colored fretboxes and pitch colored fret lines as illustrated in Figure 6A, 6B and 7 for this particular embodiment. Figure 7 illustrates one embodiment of present invention having fundamental graphic representation as may be displayed on a fingerboard display panel. The display panel may be curved under a Hard Glass Scratch-proof display screen for bowing, having curved profile or for fretted instrument having a flat surface profile with embedded frets or displayed frets. The type of scale and key note may be shown on a monitor 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, by a click,

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 its intended use.

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 8th are always the same color for easy chord recognition by color combination.

101 . HARMONIC - minor usage going up &down the pitch raises the ti to the majors TI position and may be shown in special effects, e.g. flashing stave and/or framed fret 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 to be prominent

Preferably, fundamental graphic representation having 7 colored boxes or staves (some horizontally lined if sharps and/or flats) and 5 non-colored boxes or staves for a diatonic scale, graphically changeable for major/minor stave representation (using the 'fixed DO').

102. The BLACK (dark) characterizes a 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 pitch grid lines, preferable with dotted fret line to represent sharps and/or flats (they are never used together in a 'diatonic' scale formation).

105. Colored solfege preferably with off-white lines for sharps or flats, if within the scale.

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 have equal grid numbers proportionally, 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, to be registered into a database, to sync with segment wave line dimensions that are to travel through them.

A white volume bar is to represent playtime of the volume fluctuation for the intended duration, preferably throughout the system, as applicable whenever audio-visual reflects the playtime or whenever the display is touched to record as the key index for 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.

GRAPHIC REPRESENTATION OF FRET LINES AND BOXES ON MEDIUM

The medium display of fingerboards, for bowing and fretted instruments, is made of fret lines that can be boxed as 'blocks' between string-way divides, with the strings centered above the boxes, preferably to allow smooth programming of standard data to be translated, into a variety of receptive modes of application as shown in Figure 7.

The pitch grid lines are to be registered into the computer or processing module, before using the system to the nearest pixel, with the built-in frequency sensors or tuners. Being of different fret boxes or block sizes the number of grids 'Horizontally/Vertically' per block or box should be proportionately equal in number for a standard flow of volume data, horizontally and duration data, vertically if fingerboard held upright.

The display medium having curved profile for bowing preferably required to be custom built with 'printed' pixels of the string-way dimensions, for different instruments e.g. Violin, Viola, with the fret lines preferably also custom build with proportionate pixel sizes, but still to be set manually to the nearest pixel, preferably there being a variance in string adjustments, warping etc.

The fret blocks demarcations are separated by 'string-way' divides, and pitch colored fret lines and are in mellow, tinted colors which are optional or adjustable for the bright solfege notewaves to be prominent. Figure 8 illustrates another embodiment of present invention having a fundamental display of graphic representation encoded into data that may be displayed on a monitor with connectivity module to and from the instrument or a second display panel in audio/visual graphics of segmented waves on staves, fret or segments.

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 synchronized lines to be extracted and mixed played or edited.

1 13. Bright solfege note-waves in play.

1 14. 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. Traditional 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 a an established line thickness ratio)

120. Grey - for Major's 'flattened' mi, la and ti's of a natural minor scale 121 . White - for 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.

In one embodiment preferably it has fixed pitch staves and scrolled solfege notewaves. Alternatively, in another embodiment the staves can be in solfege color with variable coded notewaves. Further, any other format can be entered into the system for user to create in their own conversion which has to be acceptable and transferable to be in the mainstream usage. In another embodiment the solfege could be prominently shown on the axis line screen edge in colors or, the fingering can be shown in colors.

Figure 9 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 that 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 include:

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). Preferably, shaded areas are unspecified colors for Pitch/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 its 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, when 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 MUSIC MOVEMENT REPRESENTATION ON BOWING/FRETTED INSTRUMENTS The display medium under the transparent fingerboard, displays graphic signals from the computer monitor's data or internal/external memory read into the instrument according to the need or choice of the instruments, in a standard time and space value, to clarify music movement graphically, for an easy method to play tunes that can be heard as well, so that one needs only to basically be shown, where and when to place the finger, to play and know music.

1 . All bright solfege colored note waves made of segmented lines move upwards on the fingerboard's medium in a fixed time period (e.g. 2, 3 or 4 seconds - which may be set to the levels of proficiency) with a proportionate fret distance to traverse (e.g. 3,4 or 5 grid boxes) before stopping to exhaust the segment lines when reaching the top of its similar colored home box. 2. Long & short (broken) notewaves would preferably appear to come out of a similar distanced grid line and start with a lesser brightness to end brightly at the play time space on the grid to be played on.

3. The solfege colored segments lines could turn white progressively into its 'home' box, to burst white at hit time, when the segment could optionally turn back to the fret box color in a white volume bar, preferably with a maximum volume of a full fret stretch.

4. Volume is represented by the stretch of a white volume bar from the notes play time grid or fret line down the fingerboard.

5. Each fret box of different sizes is to have an equal number of grids, horizontally and vertically, keyed into the system with built-in, frequency sensors or tuners for an 'even' data flow, which can be stored to memory. 6. Quarter tones or notes off the fret pitch in bowing may be at any grid line, away from the fret pitch line but would have notewaves traverse the same time and fret box distance, with the volume box, sized to the closest fret box in the color(s), of the solfege zones.

7. In very short fret boxes below, the pixels may not be clear, which even for a professional violinist can only be fathomed by the trained ear.

8. The violin fret box may be thickest in color above and below the fret line, merging with other colors between frets, but 'registered' by the fret lines, while for embedded fretted instruments the fret boxes are in one color, fret line to fret line, there being no pitch variance between frets.

9. Stuck notes of a guitar or piano could have the sustained duration in an appropriate misty-dotted segmented formation. Held notes of a violin, are in clear segmented lines, but also, preferably to have a dotted mist, when the 'bow' is 'off the string without muffling as a sustain.

A sensor device to ascertain the two types of notes also can be used by the present invention to tell held notes from stuck notes, sustain or muffled, which may need to be related to the pick-ups, which activates registration of play when audible sound is released.

10. Short frets at the bottom or higher pitches would appear 'slow' and run a shorter distance - but over the same number of fret boxes in the same time.

1 1 . Pixel formation and strengths need to be examined to subdivide to the nearest pixels, especially for very-short fret boxes. 'String-ways' are not parallel and may be custom printed with graded-pixel size formations if possible, but the horizontal pitch grids although preferably with graded-pixel sizes may have to be manually registered and stored to computer memory, because of practical variances in usage.

12. For beginners, which finger to use may be shown as colored 'horizontal' streaking arrow-heads in a fixed period and distance, originating from both ends of the fingerboard side-rails to hit on time/space, as added timing/placement awareness for beginners, which can be blurred-out.

13. The screen could graphically show the movement of the bow-stick at a bottom-strip of the medium, near the bow stick, and also show, which string(s) is in 'play' and to what volume by the glow.

14. With sufficient 'catch-on' sight-reading time on the musical instrument's display medium, the monitor screen can be used for other purposes such as animated fingering techniques, caught on camera.

15. Lower pitch notes to be played above the one(s) below, would run 'woven' together, until the earlier notewave stops to exhaust - itself, at its respective 'home' colored playtime fret line, while the other(s) runs through it, which the gaps between the segmented lines are to cater for.

More than one note (of different colors and dimensions) maybe shown quite clearly woven between the gaps, of the imminent note to be hit, or as a contour of 'dots/dashes' on the volume segment's edge, for the last note wave's segment lines, as options which is to be determined in research trials.

16. Notes followed by a higher pitched one from below the string would have the notewaves running independent, without 'weaving'. 17. Sliding finger movements, on strings would show the notewaves in the colors it has to traverse, with the 'play-time' volume bar's white-bright lights, lighting up below the grid in play, sweeping the segments, down the frets (for higher notes) or (pulled) stretched upwards (to the lower notes) according to the fingering-speed as recorded from the white volume bar, to be established from trial of finger usage as used for interactive touch-screen video games, with the necessary modifications, for the cutting-edge to free-flow movement visually.

18. A feature to gently-blink the fifths differently up and down the pitch of any note(s) played may be activated to integrate harmonics of chord-work, along with the same colored octave eights visibility, particularly on the spread of the guitar's range.

19. Vertical gaps that allow other notewave 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.

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.

GUITAR STAVES The present notation system will be able to provide a good guitar with embedded fret or gridline display frets the structure for easy access to a wider range that can be captured on screen and/or medium display, with the octave ranges merely stated by number, like all other instruments. A pitch in different octaves may be coded and also graphically shown on staves but the notewave on the display screen overrides any other reference.

A guitarist or violinist may read from the flexibility of a reversed scale. Staves were apparently written as such in some earlier periods with the solfege reading downwards as the fingering reads Do, Re, Mi downwards on the fingerboard which could be more straight forward to relate, by choosing a format, while still being in-sync with the orchestra, by 'turning' the page, Violinists and guitarists could use a grid line on each stave space center to indicate which string is in play by color and/or thickness before the notewaves, with the optional use of the head of the segmented wave indicating the proper finger to use, with finger animation choices, which may be registered while scripting with infrared techniques - and well placed cameras can show much else.

FINGERBOARD TOUCH SCREEN SENSORS The notation system should work smoothly, with the right music theory inputs, with much depending on the ability to register the contact of the finger movement on the string, to the grid positions set in the display medium, for efficient computer demarcation of movement for bowing and fretted instruments.

For the strings intimacy with the grid lines to be registered, if the 'finger-heat' or depression type sensors are not found suitable, magnetic Fields, as electronic impulse readers could see modified strings or a 'magnetic' plate under the medium, (if it can be protected from negative interferences), with a cut off distance point, for grid registration on the staves (not necessarily touching the screen) because the computer would only be programmed to record when the pick-ups with each string is activated when struck.

The cutting edge discoveries in sensor touch for the present system's efficiency along with the 'frequency' reading sensors that could churn out solfege instantly.

Figure 10 illustrates touch screen connectivity options, where the clarity of the system depend on the contact registration (conductivity), from a string 101 , fret 102 or finger to the grids on the medium 103, even when the fingers do not touch the glass evenly because notes are registered only when audible sound is produced. For example, bowing instrument may register by finger or string 101 to medium/glass 103, while fretted instrument registers by finger or string 101 to medium/glass 103 or fret 102 connected to grid. The pick-ups registration point of each string should be sufficient as grid for keyboards.

SOFTWARE POINTERS

1 . In its essence, notes are to be struck on the grids of a touch screen, fingerboard's display medium, inlaid into bowing and fretted instruments (keyboards in its own mode of connectivity when the notewaves, run into an axis line above the keyboard 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' for the keynote by 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 along the stave 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 can respond in different effects or turn gradually white to indicate imminent strike time with a white volume bar appearing at play time that are graphically displayed, to ingrain timing.

6. 'Accidental' notes, are unused because each half note has its own stave, fret or segment division and is represented by changeover markings before each solfege note that skipping a division, with the actual position displayed on the medium in its own grid graphics.

7. Timed horizontal colored streaking light coming a given distance and time from both sides of the fingerboard can tell which finger to use on the medium display (and they may also double up on timing awareness), especially so when the same pitch can be found on another string.

8. A built in metronome column along the staves 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. A marked bow stick captured on camera (or as graphics on the monitor) would lend clarity to bowing movement and could also be illustrated at the base of the display medium as lights, flowing up or down with the volume as 'glows' and which strings is in play for a total effect to play by instinct to the moving lights and sounds.

10. Graphics/Gauges could show footwork for pedals of keyboards/guitars to clarify music movement with connection slots to plug into the program.

1 1 . 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. 12. On the periphery of the monitor display will be graphs and gauges to measure/monitor volume, timing, solfege, pitch colors, repeats etc.

13. While the beginner focuses on playing by the solfege notewaves bright colors, from the very beginning, one becomes aware of the actual note's pitch value, by thin vertical colored fret lines, shown permanently indicate the notes A,B,C etc. 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. Chords can be easily identified as a similar set of colors under different keynotes or scales. 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. 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 (eg. foot pedals), can use to the fuller worth of the core data of the notewaves coded volume and duration. Notes may not always be played on the fret positions, but for effects, pulled/played up or down, called quarter tones (Demi flats/Demi sharps etc.) and is not clearly standardized in music for obvious reasons, which can be determined by the grid lines touched on the display medium of a violin, with its representation on the staves to be adjusted by color blending/positioning of solfege note waves and shown optionally with a horizontal line at the waves 'supposed' center, on the staves as an option.

18. Octave classifications by number is to be clarified in research to standardize the relevant octave for the instrument's range; e.g. is A-G the octave (not C to

C) 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 to follow.

21 . Built-in tuner- Bowing instruments may need to register 'key' fret positions tuned in to the computer with the use of a built-in tuner. The grid lines on the fingerboard are then to be auto adjusted to have an equal number of horizontal volume grids per fret box and vertical duration grids, fixed down the length of the string-way boxes which are of different sizes to register notewaves running through the grids. 22. 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. Playing a tune on a higher/lower key-note only changes the pitch and does not change the tune if 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) Sliding up or down a string over different pitches can be shown on the monitor as transcending colored notewaves between the stave lines (sometimes through the gaps of other notewaves) and at the Axis line the note could slide up or down changing with the designated solfege zone color on the monitor screen. Color mixes is a technique to be studied with relevance to an interactive state of color movement. 'Issac Newton' has a color theory on solfege worth researching - with due consideration to the A/V world which is deeply into color. 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. 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 line-space 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 in- exhaustive files, with the system using a reliable sensor touch fingerboard to script music into transferable data. The diatonic scale graphics would be the front-runner for other scales and systems, for a common A/V usage. 29. A wholesome digital system between the monitor's readable music which may be encoded and read on the fingerboard display should be transferable/upgradeable, with the moving notewave data arrested at the core points of usage in programming by experts who would have to give consideration to unifying various systems of written music, whose basics in harmonic notes and half note spaces are already ingrained.

30. 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.

WEBSITE

A fully fledged public website will be of intrinsic value to the instruments user, and have a library of information available on:

• Notation.

· History, Literature and Theory.

• Record/script/ share data formats.

• Schools of Music.

• Classical/Pop, Eastern/Western etc. files.

• Instrument Guides and tips.

· Reach/Interact with tutors, pupils and Musicians in the neighborhood.

• Karaoke, Duets, Orchestras to play along.

• Conversion of Black and White to half-note space staves.

• Proficiency assessment/recognition.

• Screen-board software for download as introduction to the system.

· Sound layering/scripting/composing aids. Chat forums.

Marketing page, Etc.

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 .

Table 1 The leading note , 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 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 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 in India) which half-note spaced staves 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 (as a natural or added sharps/flats) it can be plainly seen in actual stave positions as crossover representation which the non-colored staves could show with pitch color identification, with horizontal/vertical lines or plain non-colored staves, as described for the diatonic scale changeover usage with its variations.

Variables to the main theme would need learned judgment for the necessary adjustments, which may be questionable in 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' toned 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 and frets 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.

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) 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.

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!

The 'miracle' of music, where a note doubled in frequency, gives an 'equivalent' toned 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, its workable relationship to the 'half-note space' staves 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.

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 registered 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.

SCATCH PROOF TRANSPARENT CURVED HARD GLASS / PLASTIC MIX COMPOSITE PRODUCTION METHOD

The fingerboard of a bowing instrument would be a cut piece of curved hard glass / plastic composite, resistant to scratches under which the medium is fused/glued or stabilized by a plate below if needed, so that the medium is evenly spread under the glass, with the image of the medium on the hard glass ideally visible at the top sheen of the glass, to be produced out of extrusion glass pipes to the dimensions of the bowing curvature(s) to be cut and ground to fit precisely into the precision cut side rails of a body chassis. The task of getting the curvature right involves enormous man hours to perfect, and still, may not last due to the wood quality, warping or imperfect craftsmanship. This novel method does away with a major alignment issue of the fingerboard, and along with not having to create a sound box, makes a mass production process seem infinitely easier, with a well designed body mold.

SCRATCHPROOF HARD GLASS INSTALLATION METHOD

The medium which may be 'fused' under hard glass by appropriate technologies for fretted and bowing instruments, is sandwiched between the hard glass at the top and a protective stabilizing plate to hold the medium evenly under the glass if need be, set with inner fittings and clamped together, temporarily for placement as a whole, complete with the circuitry and socket (that is to be plugged to and from the monitor), and slide/squeeze glued into a mass produced body chassis whose side rails are precision tooled, with the tensions on glass to be understood, and provisioned for the circuit to run fully around the medium if need be and connected to its own processing option. Figure 11 illustrates one embodiment of a glass / plastic extrusion pipe. By using the present glass / plastic extrusion pipe it is able to solve a major alignment issue of the fingerboard and along with, not having to create a sound box, makes for a mass production process seem infinitely easier, with a well designed body mold, and easy installation method.

BODY MOULD (Bowing & Fretted) A prefabricated body, preferably stamped out of a well designed and preferably simple One press' mold for precision and easy manufacture could house all the components into slots as it goes down the assembly line, for mass production to be cost effective. The side rails of the chassis is a crucial design feature as the glass and medium is to be press-glued and well set into the rails, with the tensions at the rails and the glass to be well weighted, after the thickened edges of the side-rails are finely leveled and precise cut, in a well anchored position which calls for the best of cutting technology, the tolerance gap to be filled only by a thin coat of adhesive. The fingerboard display medium, glass, and the body mold are described as an elementary concept to show the practical workability, but would evolve with the technological advancement in their respective applications with research.

The components preferably are easily slotted, reverted or glued firmly down without rattles into the chassis mold.

Rosin from the bowstrings is a sticky substance not conducive to circuitry, thus the cover(s) preferably are to be well designed and not have unnecessary vibrations to distort the sound and fitted well on the body chassis over the hardware compartment. The Figure 12 illustrates a body mold of one embodiment of the present invention. The drawing as shown of bowing instrument(s) may be in different sizes e.g. violin, viola etc. - and Cello with different play position. The body preferably has dimensional structure of existing musical instrument, with front or back tuning pegs. The Ribs on the body mold 601 are engineered according to the specifications for balancing the strength and pressure on the glass. The Side- rail trimmings 602 in sync or corresponding to the medium and glass fixture. The flexi-rods 603 could be adjustable in length by protruding into the motherboard compartment, with an external catch, which are designed for the varying sizes of a violin, viola etc. The materials and fixtures of pads 604 to be comfortable and flexible. The present body mold design to evolve from this workable drawing, varying with the integrating of the various components after research, with sound 'chamber' features for Authentic Resonance. Preferably, alloys that are used for tennis racquets could be the natural choice for lightness, fineness and strength as they are far more string tensions beyond the needs here.

The Figure 13 illustrates a detailed view of the body mold of one embodiment of the present invention. The cross section of the body mold is preferably shaped by using precision edge cutters on a well-anchored body, perfectly leveled after removal of the mold for firm cutting, perhaps still inside the bottom mold. The violin chassis 704 includes top mold 703 and bottom mold 705, in which a display medium 702 is fixed below the glass having u shaped curved profile to the best playing dimension of conventional violins, where the display medium 702 preferably has the profile of a standard bowing instrument arc.

The components embedded or mounted into the chassis are to be easily slotted, screwed or glued firmly down. For production efficacy and an early startup, it may be that the manufacturer outsources most components and manages only the assembly lines with the chassis to be fitted with components before testing and packing. The cost effectiveness of a thickened side rail edge is overwhelming, but a fully curved edge may be examined for high-end quality preference or for a next generation technological evolution. Preferably, it is only the right edge (for right handed person) that may need a curved glass edge on the right side, to marginally use the extra space. The left edge could even be a thicker edge to anchor, a more slender 'right' fixture, to maximize edge use. CLAMP FIXTURE

Figure 14 illustrates one embodiment of a clamp fixture that can be latched or fixed to a musical instrument, where Latch onto 'rivet' on one side 706 and screw down the other side 707 for easy dismantle and packing, is be designed to specification or requirement of the musical instrument. The clamp fixture includes a harness and belt and flexi-rods with pads. Therefore, by using the clamp fixture it is possible to mount the display medium such as tablet, monitor or mobile phone with the musical instrument for ease of use and view of the color coded music notation to be seen, hear or played by the user.

However, it is possible that sight-reading be entirely from the medium displays on the fingerboard if sufficient incoming notes can be grasped with 'other' types of connectivity. 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 fingerboard 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.

The monitor screen may serve as a connected data library if sight reading from the fingerboard display is sufficient for user with thumb drive or hand phone with internet connection.

The instrument may run on rechargeable battery power for built in memory/external USB drive, to light the notes to any scale on the medium or to 'click' a scroll knob on the body, and for the low voltage built-in speakers, tuner etc.

PICKUP 'CHAMBER' CONCEPT

The electronic pick-ups system on a prefabricated body, designed for good sound effects will define whether the instrument can be a performance instrument of choice, by a research configuration of the various principals to convert sound into alternating current, by understanding the strengths of these variable elements, painstakingly tried and re-aligned by experts, to ultimately shape the instruments quality to resonate as 'well', if not better than a fine crafted chamber of a traditional instrument, that will have to be reinvented for a practical cost-effective product of the electronic age, with the best available configuration, as broadly outlined below

The three known principals to convert sound into alternating current are: 1 . Microphone - Feedback and cross talk is picked up 2. Contact Pickup (Eg. Piezo pickups) - unwanted reverberation from the body

3. Magnetic Pick Up - Current interference is an issue And a probable fourth; optical pickups, that use infrared light to register minute vibrations unto a speaker, but still needing a tonal input.

The digital age, now produces an admirable range of sounds suited for funk/metal kind of music by tapping the stings individually but does not resonate the togetherness, as well as a classical instrument's quality softwood membrane, that is crafted through the experience of the ages.

Electronic power would need a form of a 'miniaturized chamber' to blend the sound of different strings, like going over the bridge to reverberate the sound box chamber. A good instrument resonates the vibrations of a played string onto the un-played strings leaving a pleasant total harmonic 'hum'. A sitar and many vintage instruments have underlying un-played strings purely for that resonance, the various note vibrations balancing into a tonal equilibrium on the membrane through the bridge.

Anyone with a ear for music, would know that the time tested acoustics of an old instrument, with the feel of the fingers on the strings or with a bow, or the life- breath images of the lipping of blowing instruments, fills the heart in a unique, irreplaceable way, that can be enhanced but not replaced by electronic power that can deliver the precision and flexibility to even transpose instruments and octaves through this system. A Stradivarius type violin may be implanted with a frequency measuring display arm without really compromising the sound box.

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 'chamberised' sound. With sound modulation innovation, a single instrument may be 'chamberised' and modulated to sound like others, maintaining an authentic feel/sound.

FRETTED INSTRUMENTS

As illustrated in Figure 15, the fingerboards of fretted instruments, will have the medium 802 placed under a flat piece of glass 801 squeezed into the side rails with a stabilizing plate 803 (or method) below if needed, to keep the medium laid flat, with a proper method to embed the frets 804 firmly onto the glass and avoiding too thick a glass.

Fretted instruments of different sizes would include flat fingerboards that are struck/strummed with the fingers, with the medium display showing the fret lines instead of actual embedded frets, which may not give the crisp sound off the fret, but which may have other seamless advantages worth considering, which could well see a re-make of many fretted instruments, especially the smaller variation ukulele.

Fixation of the straps, rest pads and braces may vary with the length of the instruments (guitar or ukulele) for comfortable strumming/plucking action 806, with the screen fixed 805 for best visibility just above the lighted medium for visual grasp, avoiding too much eye refocusing, as experience and confidence grows. Usage with device or monitor screen and display medium is as described under bowing instruments with positional changes that would have to be anchored at the waist to keep a long guitar at a comfortable, angled view to play or on the belly for ukulele with the soft pads of the violin.

THE COMPOSER'S DREAM Figure 16 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 instrument 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 for varied data interpretation. 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 segments may be lined to recognized 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 16 illustrates the cover with a touch screen computer or display panel screen 901 of a custom made P.O.K (Placed Over Keyboard) type may be made to come off the hinges 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. 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 key-board it maybe better sloping the keyboard downwards, with screw lift stands at the back, for better positioning options.

TODDLER'S KEYBOARD

With a hardy, safe make, and with built-in nursery rhymes software with pressure-volume, grid-registered keys, with a screen attached, or as a screen- board, it can be ideal to get a toddler's involvement, into real music without difficulty, to be a very meaningful, marketable toy product.

PERCUSSION INSTRUMENTS Electronic percussion instruments of today are often note bearing and could use the system, attached to beats/rhythms (with precise Timing, Volume and solfege) by flowing along a column, off the staves or in its own graphics preferably within the staves obscurely.

All enhancing attachments to an instrument e.g. foot pedals, may be provisioned for 'plugging' in to be synchronized with the tracking A/V system, with research.

WIND / BLOWING INSTRUMENT

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 staves and notewaves segments many show solfege apart from notes duration and 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 wind instrument 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.

Manufacturers may have a stake to come up with the graphics of their instruments unique features, scaling system etc, using the system to market them, in the formats marketing pages.

Figure 17 illustrates one embodiment of multi-graphics used for wind or blowing instrument. Preferably, each manufacture needs to provide the best graphics for each peculiarity of the single frequency output of wind instruments that have limited range in systematic requirements for data transfer and flow.

With the grid of notewaves established over the registered play areas for other instruments, any format of graphics may be entered based on grid data. With blowing instruments not needing to convert the already cut-out solfege and not needing to register the variables of pitch by finger grid location, it may rely on super imposing or overlaying on other instruments simulating for it, until highly evolved pitch frequency sensor can be converted instantly into solfege for the single frequency sound vibration output of wind instrument, via microphone 'sensor membrane' device.

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.

133. Octave 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 position.

137 A fuller score as keyed-in.

138 Lipping pressure gauge, 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, direction of flow, colors, dimensions, definitions as is apparent.

Tomorrow's paperless electronic score sheets can be lightweight and even be scrolled to place on a clarinet or trumpet, while some may need a protruding clamp. The core of orchestration has always been the bowing and wind instruments for their quality to merge well. This system could awaken a renaissance of classical proportions for the big bang of electronics to blend the old with a new reality.

The present invention may be embodied in other specific forms 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 is apparent.