WO2010054842A1

WO2010054842A1 - A scorewriter system

Info

Publication number: WO2010054842A1
Application number: PCT/EP2009/008139
Authority: WO
Inventors: Mark Egan
Original assignee: Mark Egan
Priority date: 2008-11-17
Filing date: 2009-11-16
Publication date: 2010-05-20

Abstract

The present invention provides a scorewriter system which is adapted to analyze inputted music data and corresponding finger position data and to combine the two channels of data in order to generate a custom music notation of the music data.

Description

A SCOREWRITER SYSTEM

FIELD OF THE INVENTION

The present invention is concerned with a scorewriter system and program which is adapted to analyze inputted music data and finger position data and to generate a custom music notation of the music data.

BACKGROUND OF THE INVENTION

The present invention relates to a system of representing music notation in electronic form. Prior to the introduction of the present invention the following would be applicable across the spectrum. Over the millennia there have been thousands of various music notation systems, some even going far back as when humans first learned how to create a musical tone utilizing rocks and sticks. Since that time only the strongest survived of which today is referred to as the Conventional Music Notation System. This system created in 1025AD by Guido D'Arezzo introduced a form whereby each horizontal line and space (aswell as above and below them using leger lines) on a stave represented a specific key on the piano. Musical timing was then introduced using musical theoretical information such as the eight note values of music i.e., Semibreve; Minim; Crotchet; Quaver; Semiquaver; Demisemiquaver; Hemidemisemiquaver; Semi-hemi-demi-semi- quaver. Not until recently was specific software introduced to display this conventional music notation system aswell as other less known formats. Conventional Music Notation while having its limits when notating music has survived for well over 900 years because it has the ability to notate from Beginners to Virtuoso levels of music, which all others fail to do up until the introduction of this present invention.

PRIOR ART REFERENCES CITED

• 4,960,031 {1990} Farrand

• 5,146,833 {1992} Lui

• 5,202,526 {1993} Ohya

• 5,315,057 { 1994} Land et al.

• 5,773,741 {1998} Eller et al.

• 6,235,979 {2001} Yanase

• 7,105,733 {2006} Jarrett; Ramasubramaniyam; Sethuraman; Jarrett

BRIEF SUMMARY OF THE INVENTION

The present invention offers a new generation universal scorewriter and or digital audio workstation system. These components manipulate various internal/ external devices namely new generation finger configuration devices and customized music instruments via electronic data. In various forms of the embodiment the invention can transmit specific data to and from devices in an educational format or professional platform like a Digital Audio Workstation (DAW). Using the author's new generation music notation system or as aforementioned in earlier applications by the author as 'Morpheus Music Notation System' as its source, the invention utilizes categorized generic database tables which uniquely separates each instrument and offer responses in electronic form based on the acquired result. A customized Data Analyzer/Converter transforms conventional electronic data into a new generic form {whether it be MIDI/OCR/Speech Recognition formats} and with these results displays that data upon an interface and or operates external devices to perform arduous tasks. These tasks can be either performed in direct synchronization with the Scorewriter/DAW or independent of such. With the advancement of this new concept the author's invention will have the ability to transcribe all conventional music notation systems and their musical representations {in print/electronic and other formats} that have been created over the last millennia. The reason that this would be uniquely applicable with the author's invention is that all prior systems have been unable to represent the entire music vocabulary range, offering substandard alternatives to the consumer. In the case of this present invention the consumer never requires a reversion to any form of music notation system in order to progress to a virtuoso status in music. The concept is applicable to any piece of music, any music genre and any musical instrument which is indeed novel.

OBJECTIVES

Unfortunately none of the prior art devices singly or even in combination provide for all of the objectives as established by the inventor for this system as enumerated below. For easy reference these objectives have been divided into five categories which are: A) Simplicity & Education (1-8); B) Range & Scope (9-20); C) Novelty & Design (21-30); D) Safety & Environment (31-32); and E) Alternative Forms (33-45).

1) It is the objective of this invention to provide methods, devices and system utilizing a Scorewriter / DAW platform to enable a novel individual to learn, compose and display simple and highly complex music from a variety of Music Genres.

2) Another objective of this invention is to provide methods, devices and system where manufacturers could create specific learning devices, which provide the child or adult with a virtual teacher that connects to the present invention, learning diverse music syllabuses or curriculums from schools, irrespective of whether it be Beginners or Virtuoso Levels and irrespective of the country they are living in.

3) Another objective of this invention is to provide methods, devices and system that is user friendly inside a specific countries music education curriculum, whereby a user is receiving a highly qualified and registered virtual or other music syllabus based education. It also allows the development of such a system that translates into all languages around the globe, in which every person is able to experience this unique interactive education, and composition environment.

4) Another objective of this invention is to provide methods, devices and system that even the visually impaired can self teach and interact with this system. This could be achieved by using Braille or the specific alpha and numeric characters that makes up the original fingerprint design of this {N.G.M.N.F.}.

5) Another objective of this invention is that it be capable of multiple uses in music and within the education system.

6) Another objective of this invention is to provide methods, devices and system that nourish a musicians or ordinary individuals' appetite to self create and compose, rather than interact with current conventional interactive mediums that develop an illusion of talent, where the talent is just that-an illusion.

7) Another objective of this invention is to provide methods, devices and system in which this new fingerprint in music notation is utilized to create a myriad of education and entertainment software for all age groups in society and translations occurring for same to be used by all nations of the world. 8) Another objective of this invention is to provide methods, devices and system in which an additional level in music referred to as 'Imperium' is created to accommodate the advanced stages of musicians. Within the {N.G.M.N.F.} the following levels of music are developed: Beginners, Intermediate, Advanced, Virtuoso and Imperium. Details of each will be described inside this current application.

9) Another objective of this invention is to provide methods, devices and system which enable learning and teaching of key, string, wind and percussion musical instruments, aswell as human vocal attributes, through the inventors' {N.G.M.N.F.} . These system parts of which have been previously disclosed in the authors aforementioned applications, use specifically designed application software pre installed and up-load-able onto the electronic device when or if required.

10) Another objective of this invention is to provide methods, devices and system in which it has as its core or original fingerprint, a revolutionary {N.G.M.N.F.} . This unique source or fingerprint enables children, adults, elderly & the visually impaired to learn any musical instrument without the prior knowledge or prerequisite to learn the traditional and prior art music notation theory, using such methods, devices and systems.

11) Another objective of this invention is to provide methods, devices and system whereby due to the obvious nature of this new invention it could be used for other applications, in that its embodiments are manipulated by the user in performing other tasks not associated with music. As well as this, an optional internal system translator permits interaction between users of different countries either online through an intranet production facility or record company site, allowing various musicians to interact with each other over LANs and WANs.

12) Another objective of this invention is to provide methods, devices and system that the hearing impaired can self teach and interact, whether it be in an entertainment or educational environment. This could be achieved by revolutionary vibration pulse technology that utilize the specific alpha and numeric characters that makes up the original fingerprint design of this {N.G.M.N.F.} . Utilizing such mediums as pulse technology for the hearing impaired, whereby specific sound frequencies adapted in the form of this new notation system upon which these same frequencies are transmitted to customized pulse sensors, which then vibrate upon the skin of a user. It is widely known that the hearing impaired can experience the emotion of music, through vibrations and such concepts are related here by the applicant.

13) Another objective of this invention is to make it suitable for users of a broad range of ages and situations.

14) Another objective of this invention is to provide methods, devices and system that allow the entire design to be separated and used individually as stand alone consumer products, or in combination for consumers. This could be advantageous to the manufacturer to reduce costs or to the consumer to avail of optional upgrades.

15) Another objective of this invention is to provide methods, devices and system whereby particular musical instrument additions like sensory drumsticks and sensory bows could harness electronic or other technology, that permit them to output analog or digital parameters for the aforementioned MIDI Interactive Formula to understand, thus helping the transferal of transcription and movement information to other systems developed by the author. 16) Another objective of this invention is to provide methods, devices and system in which a multitude of merchandise is manufactured which utilize various representation of the {N.G.M.N.F.}.This would also include published series of books and magazine encompassing the theory of music using the authors' unique generic design.

17) Another objective of this invention is to provide methods, devices and system in which a specific notation system is developed for every musical instrument throughout the world, utilizing the ten categorized systems proposed in the original design by the author. As each musical instrument is approached it is divided into whether its notation will be developed from Keyed Notation I, Keyed Notation II, Keyed Notation III, String/Fret Notation, String Non-Fret Notation, String/Plucked Notation, Wind Notation I, Wind Notation II and Percussion Notation. The author also wishes to develop new generation music notation for every musical instrument in which detail described for the Individual Fret Sensory LED Learning Mechanism Type III is utilized. This concept is in reference to a classical piano, wherein each natural note is indicated upon Peripherals, Scorewriter and other Software, while sharps and flats are not indicated. This concept will permit users to instantly see how the notes upon any musical instrument have reference to the naturals (white notes) and unnaturals (black notes) upon a classical piano.

18) Another objective of this invention is to provide methods, devices and system whereby a recording or sound engineer studio is fitted with a new multimedia transcription device. Utilizing the scorewriter software from the V.I.S.S. it is housed within the mixing desk inside the studio. A band or orchestra then performs all the music in synchronization using the customized musical instruments, with a media result uploaded into the mixing desk. This would enable a real time instant transcription of music whether it be a short melody, long symphony or concerto, with the correct moods, dynamics and other attributes of music, instilled within the new generation music notation presentation. A whole new set of parameters and signals are attributed to music theory which create a technological advanced and exact representation of the most difficult pieces of music ever written. The engineer can then take this media format analyzing each track and manipulate them in magnified proportions.

19) Another objective of this invention is to provide methods, devices and system whereby new advancements in human fingerprint technology may permit a sensory device to be manufactured specifically to transmit/receive specific hand coordination using this same fingerprint technology. For example, it may be possible to allow a user on purchasing a sensory hand coordination system to input a specific fingerprint for each of the fingers on both hands. This advancement would then enable software to accept specific signals based on these fingerprint input/output signals relaying this information to software programs within the V.I.S.S. or indeed embedded within the mechanisms themselves, negating the requirement for a sensory glove or other external hand coordination medium.

20) Another objective of this invention is to provide methods, devices and system whereby new developments in technology which utilize the {N.G.M.N.F.} are connected up to conventional musical instruments. These mediums with small LCD screens could be attached to any of the customized or conventionally manufactured musical instruments and pre-programmed software inside these mediums inform the user of chords, scales, arpeggios and other rudiments of music theory or a music composers history. For specifics 'attachment' references the portable device being inserted onto small rails upon the side of the musical instrument, the use of an adhesive source to stick the portable device to the side of the instrument, or it does not necessarily need to be attached to the musical instrument, but merely placed in close proximity to the user. Additional outputs on this medium can also be compatible with conventional computers running on different operating systems like Windows Series, Mac, Linux or other available operating systems. The portable device could also contain output ports for connection to external display devices in which the user is able to use a computer monitor or television as examples, as a source to display the information inside the small portable device.

Other attributes and software programs or uploads, upgrades could be very easily attainable. These portable mediums will allow the user to play the musical instrument and either the portable medium or computer, records the output and finger coordination from the users' actions. Even the possibility of a memory card being inserted into these small detachable portable devices, which contain songs transcribed into the {N.G.M.N.F.}.The user then chooses a song from the memory card and the data output guides the user using different finger and note coordination formats to play the musical instrument. The possibility of specialized peripherals being developed that allow further interactions with the portable device, in which a peripheral could contain light emitting diodes or other guidance systems for musical instruments. A myriad of possibilities are attainable here but novelty occurs on these devices, when use of the {N.G.M.N.F.} created by the author is evident.

21) Another objective of this invention is to provide methods, devices and system whereby the authors original design has created a new unique fingerprint for music notation. Reasons for attributing such a word as 'fingerprint' to this notation system, is the fact that no other notation system from the thousands that have been invented over the millennia, have completely decoded all the complexities of music along with structures for hand coordination. Its fundamental design bears no resemblance to anything before it. 'Fingerprint' identification, sometimes referred to as dactyloscopy or palmprint identification is the process of comparing questioned and known friction skin ridge impressions from fingers or palms to determine, if the impressions are from the same finger or palm. The flexibility of friction ridge skin means that no two finger or palm prints are ever exactly alike never identical in every detail, even two impressions recorded immediately after each other. Fingerprint identification also referred to as individualization occurs when an expert or an expert computer system operating under threshold scoring rules, determines that two friction ridge impressions originated from the same finger or palm (or toe, sole) to the exclusion of all others.

Therefore, one can agree that ("two friction ridge impressions originated from the same finger or palm (or toe, sole) to the exclusion of all others") the "two friction ridges" in this case are a) the numeric value between 1 thru 88 and b) a horizontal or vertical line representing any limb, finger or toe "to the exclusion of all others" that is, it does not matter how long, wide, straight, crooked, or in depth (irrespective the vari-dimensional environment) a horizontal or vertical line/column is from a users' viewpoint- If that line or column indicates to a user that it symbolizes a specific finger of the hand or foot, that in itself identifies its origin "to the exclusion of all others" as the authors new generation music notation system, hence the term " fingerprint new generation music notation system". The second "friction ridge impression" is the numeric value, which is then placed upon the first "friction ridge impression" which is the horizontal/vertical line or column. The system permits any entity whether it be a human (young or old), computer or other medium to have a non-complex conversation (orally or electronically) with music and a musical instrument for the first time in history.

22) Another objective of this invention is to provide methods, devices and system which introduce children to music through educational, entertainment programs. These utilize different external devices, controllers and other aids, like for example light emitting diodes, cling vinyl guides and other sensors, to aid in the process of learning and composing all standards of music, while also interacting with others via a LAN & WAN network.

23) Another objective of this invention is to provide methods, devices and system whereby the user would be able to instantly connect a wide selection of musical instruments, aswell as microphone technologies for the human voice. There will be no limit to the amount of instruments that can be connected either in serial or parallel connectivity to the V.I.S.S. Using the V.I.S.S. and various controllers connected via optical or other cabling mechanisms, one will be able to learn, transcribe and compose music within an enjoyable interactive environment. Other sound and frequency controllers that operate sustain like breath/wind controllers to imitate Wind Instruments and other attributes of sound, can also be connected to enhance this interactive experience.

24) Another objective of this invention is to provide methods, devices and system in which a large database and memory bank is housed via an internal or external hardisk within the system, console or platform itself. AU inputs and outputs can be recorded with every interaction being assigned a certain area of its memory.

25) Another objective of this invention is to provide methods, devices and system which inform users via a selection of eight colors, the exact timing with regard the notes they are playing upon any musical instrument. While these eight colors are specified here inside this and prior applications by the author, any set of eight colors could be assigned to each note length to indicate music timing. This system is called the Color Note Value Designation Formula (C.N.V.D.F.).

26) Another objective of this invention is to provide methods, devices and system in which all standard conventional sheet music could be translated / transcribed via computer software or other transcription mediums into these {N.G.M.N.F.} fundamentals. Results are then displayed upon internal or external display devices.

27) Another objective of this invention is to provide methods, devices and system to allow a new MIDI Interactive Formulae to be created as described in US Application Number: 11/934,259. This permits use of new program messages in MIDI developed during the process of conventional music notation transcription for all musical instruments. These program messages indicate specific parameters during the process of transcription from conventional music notation to this new generation sheet music notation. The program messages will indicate exact tempo or rhythm of music, correct finger coordination, exact notes, keys and valves from musical instruments, aswell as vocal chords and a myriad of other parameters in the form of program messages in MIDI.

28) Another objective of this invention is to provide methods, devices and system in which the entire vocal range of a person can be represented using this {N.G.M.N.F.} and learning to sing within a specific and correct octave is attainable. Technological advances of design in sound frequency created by the author will allow exact sound frequencies (specific to a particular octave) to be decoded into software systems amid unprecedented calculations. This will enable users to re-learn the process of attaining perfect pitch.

29) Another objective of this invention is to provide methods, devices and system where utilizing the {N.G.M.N.F.}, specific designs are created that place, emboss or adhere alpha and numeric values, characters and symbols to the wide variety of musical instruments available. This also includes custom designed multidimensional adhesive labels, stickers and faceplates that can be placed upon the surface of a vast array of musical instruments.

30) Another objective of this invention is to provide methods, devices and system whereby transparent grids are placed within the new generation music notation sheet music or upon the software program formats. These grids contain the advanced rudiments of music theory and when placed over the beginner or other level sheet music match up to the sheet music. For example: the Color Note Value Designation Formula (C.N.V.D.F.), that is specific colors assigned to music timing / note values can be seen as an advanced area of music and the original design does not require this area, as the Anubis Grid informs the user of music timing in simplified format. This transparent page could be made of transparent plastic or other transparent material that simply folds over onto the manuscript. Alternatively, a consumer could purchase a collection of transparent grids for a specific piece of sheet music by the author. Upon purchase, the consumer simply places the transparent grid into the relevant section of the sheet music. This disclosure could also be introduced into the software programs that use this music notation system.

31) Another objective of this invention is to provide methods, devices and system that is environmentally friendly and uses materials, which are harmonious with the environment.

32) Another objective of this invention is to provide methods, devices and system that can be popularized and maintained with ease.

33) Another objective of this invention is to provide methods, devices and system where different incarnations of the original fingerprint {N.G.M.N.F.} is adapted to suit the consumer. For example horizontal lines that represent specific limbs of a human being, whether it be the hands or feet could be altered to suit a wide assortment of formats for association with specific limbs of the person. For specifics a horizontal line associated with a particular hand, finger, foot or toe could be associated with another particular hand, finger, foot or toe. This would also include deviations of the horizontal line being altered into a vertical line or indeed horizontal/ vertical columns.

34) Another objective of this invention is to provide methods, devices and system in which the user has optional formats that display a particular hand or foot notation design, whether it be in combination or individually with representations of other musical instrument notation systems.

35) Another objective of this invention is to provide methods, devices and system in which different controllers and peripherals do not necessarily require precise elements of conventional musical instruments. For example: a peripheral representation of a guitar could be developed that does not have any conventional guitar strings upon it. The sensors, guides and indicators for showing the user specific notes of the musical instrument using the {N.G.M.N.F.} , are all that are required upon the musical instrument. These same peripherals could contain technology that output sound frequencies exactly like the original sound of the artists track.

36) Another objective of this invention is to provide methods, devices and system where such is the notation systems simplicity, that these alpha and numeric values, characters and symbols mentioned in the above objective, are not required to be placed upon the musical instrument, for the user to learn or play a specific musical instrument or peripheral.

37) Another objective of this invention is to provide methods, devices and system in which different forms of internal / external analog and virtual display devices will allow users to enter data and characters of this {N.G.M.N.F.} , by simply touching or hovering over these respective display devices.

38) Another objective of this invention is to provide methods, devices and system whereby plastic or other material replicas are manufactured which indicate the fundamentals of the {N.G.M.N.F.} .For example: plastic replica pianos or other musical instruments that contain no electronics or the ability to create sounds are manufactured to familiarize the user about the theory of music or other if required. Replica Guitars could also be manufactured in which no strings are upon the replica and is merely a guide for teaching finger coordination to individuals with or without hearing or sight. These replicas of musical instruments would be a desirable cheap consumer product for users in schools, whereby for a relatively cheap fee an entire school could have a complete replica collection of all musical instruments for a full classroom of users. These replicas could contain electronics that control external tone generators permitting the vast sounds of an orchestra to be produced. Hand coordination along with diverse rudiments of music could be taught to users without them driving the teacher insane from the collective sound of a classroom of musical instruments. The importance of silence in music could also be introduced aswell as the importance of listening to school teachers about how best to learn the musical instrument. The 'Sound of Music' as it were is a result of playing a musical instrument, but there is so much more to be learned about the musical instrument and music before even creating that sound in music.

39) Another objective of this invention is to provide methods, devices and system whereby utilizing the fundamental fingerprint of this {N.G.M.N.F.} , other variations are possible. These include assigning any character, symbol, alpha or numeric character to the horizontal lines upon the staves that represent the limbs of the hands or the keys, holes, valves, vocal chords of musical instruments. Further description includes assigning the fingers of the hands with the following alpha character formation instead of the prior disclosed A, B, C, D, E, F, G, H, I and J. Such as, for the Left Hand Pinkie Finger, Ring Finger, Middle Finger, Index Finger and Thumb the letters P, R, M, I, T are assigned respectively. For the Right Hand Thumb, Index Finger, Middle Finger, Ring Finger, Pinkie Finger the letters t, i, m, r and p are assigned respectively. The difference in both letter formations only being Upper and Lower Case Letters. For specifics T=Thumb; I=Index; M=Middle; R=Ring and P=Pinkie. From this example one can concur by merely changing the symbols, alpha or numeric characters this does not constitute novelty from the original design by the author. One can also concur that the original design does not require any symbols, alpha or numeric characters to be assigned to any horizontal line that represents a limb or the keys, holes, valves, vocal chords of musical instruments for the system to fulfill its core value of teaching music. The mere assigning of specific alpha characters (A thru J) disclosed by the author just creates a structure for the user to operate from. Another example is where a parent could create a set often characters for their child who may have an attention deficit, in order to keep their mind on playing the musical instrument. These characters could be anything from pictures of each of their brothers and sisters or a picture of a food product from their fridge. This would be especially applicable to children in mentally challenged hospitals and organizations. Additionally, the parent or tutor could assign a specific character or image to a set of notes on the piano or musical instrument and then these same characters would appear on the finger coordination structures that are represented by horizontal/vertical lines or columns. This concept would apply across all concepts for multimedia, and or published material like books and magazines as examples.

40) Another objective of this invention is to provide methods, devices and system in which a simplified new generation music notation utilizes two simple forms of characters to represent the entire complex structure that is conventional music notation. These two simple forms of characters are one thru to eighty-eight and A thru to J for finger configuration. For specifics the scope of these numeric characters from one to eighty eight or higher depend greatly on the length of the classical piano. Several different forms of this embodiment could be changed if larger pianos were manufactured. For example: A conventional piano has a set of eighty-eight notes that go from AO thru to C8 covering a little over seven octaves. An eight octave piano (AO thru to A8) would require numeric values from one thru to ninety-six. A nine octave piano would require numeric values from one thru to one hundred and eight and so on. Alternatives could also be created in which a manufacturer creates notes below AO on a conventional piano. The authors' {N.G.M.N.F.} also covers the following aspect, in which instead of the AO being assigned a numeric value of one, the numeric value of one could indicate the key CO which would require a manufacturer to add nine more keys to the left side of a conventional piano. These nine keys would be CO, C#0, DO, D#0, EO, FO, F#0, GO and G#0. It is clear from this disclosure that any of these nine keys below AO could be selected by the manufacturer as the first key of the new constructed piano. Manufacturers could also go below CO, however the human being would be unable to hear the notes and their sound frequencies, but would be able to feel it via sound wave vibrations. Currently the AO note on a conventional piano has a frequency of 27.5Hz. Human hearing range is 20Hz- 20,000Hz. The authors' prior applications have also disclosed the construction of new pianos and instruments in which fundamental frequencies above C8 @ 4186.0Hz are represented. Such adjustments and innovation is combined herewith into this current application. Additionally, it can also be mentioned that other conventional musical instruments can be manufactured, which create fundamental tones above or below what they currently create. Such adjustments will be catered for in relation to the tones they create and its equivalent upon a classical piano or keyboard. New musical instruments could also be manufactured which contain a set of notes that have alternative pitches rather than the conventional concert pitch tuning.

One can also concur that the characters mentioned AO thru to C8 could be placed upon the staves that is the authors' {N.G.M.N.F.} instead of the numeric values disclosed. However, when representation occurs on the piano and other musical instruments, a novel person will become confused with regard to using characters AO thru to C8. By using numeric characters from one thru to eighty-eight an exact and specific numeric value is associated with an exact and specific key upon a musical instrument. These specifications are fundamental for the systems simplicity, thus no errors or confusion by the user can occur. However, the author must state that by using these values AO thru to C8 this is infringing upon the authors' design, in that these values are being placed upon finger configuration structures via Horizontal or Vertical lines, which represent the limbs of a human being. Also disclosed is the fact that horizontal or vertical lines that represent strings, valves, keys, holes of musical instruments and the vocal chords are unique and the same contravention protection applies to the authors' inventions in the current application aswell as the aforementioned applications.

41) Another objective of this invention is to provide methods, devices and system whereby a collage of multimedia display mediums could be interconnected to the V.I.S.S. in synchronization with each other, thus enabling multiple users to interact with the system. For example: a collection of computer monitors, televisions (all formats) could be connected to the one system that is the V.I.S.S. This would also include a standalone console manufactured medium, containing only the scorewriter structured process. This would then permit a user to purchase the customized device for example: connect up several televisions to the system, then several users can interact inside the one room with a display medium for each user. As the music would progress in synchronization, specific data could be displayed for each user, rather than have a collective representation for several musical instruments upon the one television screen or display medium. An example of such in console form would be a system that included the following components: central processing unit; graphics processing unit; media for example optical disc or new generation media; system storage area; controller inputs; online service; aswell as application software.

42) Another objective of this invention is to provide methods, devices and system whereby instead of the specified horizontal lines or vertical lines being used as a structure, in which numeric values are placed upon that structure alternatively another structure could be applicable. For example: within the invention each horizontal or vertical line is used as a foundation for all the numeric or alpha characters. An alternative method, whereby each space within each of the horizontal or vertical lines could be utilized as a foundation for all the numeric and alpha characters. This concept would apply for all musical instruments as was previously disclosed in the authors' prior applications.

43) Another objective of this invention is to provide methods, devices and system whereby instead the invention could also be integrated with Video Link technology. This would enable a central designated building to employee or house a list of professional musicians and educators. These musicians and educators could then instruct via Video Link at certain desired time periods, a course or lesson on playing a musical instrument. On the other side of this Video Link would be a congregation of students who would sit or stand in an assembly hall or other and be instructed via the video link. There are infinite possibilities in this concept. Specialized music schools could be set up and have customized booths or rooms particularly constructed for group or private music education or instruction. It would be especially beneficial for example to the new generation music notation franchise operation whereby all over the world the system could be taught via video link from a central nervous system, thereby maintaining high quality control with regard its instruction. So, in theory a person walks in off the street into a customized music school. At the designated time the instruction or lesson begins the entire group of students individually or collectively sit awaiting the lesson to begin. The video link is initiated at a certain time and the instructor appears in real-time thus being able to interact with the students, whether it be instructing the system through humor or other avenues, while also being able to get to know the students on a personal basis from thousands of miles away where applicable. These links could also be initiated to appear at certain times on a consumer's mobile phone or other communication device who has subscribed to the service. A myriad of possibilities are present here using various forms of communication technology.

44) Another objective of this invention is to provide methods, devices and system whereby new generation musical instruments will be manufactured integrating this new form of music notation. For example: every conventional guitar have currently what are called Fret Locator Markers across the fretboard. Traditionally across all fretboards these markers are placed atop the fretboard and in the middle of the fretboard on the 3rd Fret; 5th Fret; 7th Fret; 9th Fret; 12th Fret; 15th Fret; 17th Fret; 19th Fret and 21st Fret respectively. Depending on the manufacturer these markers can resemble various shapes like circles; squares or even a particular design like a rose or flower as seen on Steve Vai signature Ibanez Guitars. These guide the musician with regard their location on the fretboard. However, with the author's new generation musical instrument a different concept can be employed. These new Fret Locator Markers will be placed atop the fretboard; underneath the underside of the fretboard (if applicable) and in the middle of the fretboard on the 1st Fret; 3rd Fret; 5th Fret; 7th Fret; 8th Fret; 10th Fret; 12th Fret; 13th Fret; 15th Fret; 17th Fret; 19th Fret; 20th Fret; 22nd Fret and 24th Fret. These indicate all the natural notes of a piano (all the white keys) on the Low E String and the High E String of the Guitar. In other words with regard the author's notation system for piano as applied to the Low E String: 21st Key; 23rd Key; 25th Key; 27th Key; 28th Key; 30th Key; 32nd Key; 33rd Key; 35th Key; 37th Key; 39th Key; 40th Key and 42nd Key 44th Key. The High E String: 45th Key; 47th Key; 49th Key; 51st Key; 52nd Key; 54th Key; 56th Key; 57th Key; 59th Key; 61st Key; 63rd Key; 64th Key; 66th Key and 68th Key. This creates a concise structure in which intervals for notes on the guitar can be found easily. For specifics Middle C appears five times on a conventional six string guitar. By selecting the Middle C note (40th Key) on the Low E String a formula can be created whereby the Middle C on the next string will be located by the musician by simply counting back six frets back; from this point (Middle C) on A String six frets back on next string gives Middle C; from this point (Middle C) on D String six frets back on next string gives Middle C; from this point (Middle C) on G String six frets back on next string gives Middle C; from this point (Middle C) on G String five frets back on next string gives Middle C and finally from this point (Middle C) on B String six frets back on the Low E String gives Middle C. The Middle C however cannot be played on the High E String of the Guitar as it itself begins to resonate at the 44th Key (E). This formula (six; six; six; six; five and six) can be applied to every note across the guitar. Marking the Natural Notes on Musical Instruments will provide a musician with clear and concise foundation for playing scales, chords and arpeggios aswell as the general playing of the instrument.

45) Another objective of this invention is to provide methods, devices and system whereby following on from objective fifty-seven, a new type of guitar musical instrument is created. Disclosure describes how this new guitar whether a six, seven or higher string instrument contains a revolutionary concept of twenty- eight frets. This concept revolves how the Low E String of the Guitar is tuned to indicate the 16th key thru to the 44th key; the A String is tuned to indicate the 21 st key thru to the 49th key; the D string is tuned to indicate the 26th key thru to the 54th key; the G String is tuned to indicate the 31st key thru to the 59th key; the B String is tuned to indicate the 35th key thru to the 63rd key and the High E String is tuned to indicate the 40th Key thru to the 68th key. This concept permits the C note of conventional notation to be matched up to all six strings. That is, each C would be marked with Fret Locator Markers moving up from each string on 24th Fret; 19th Fret; 14th Fret; 5th Fret and the open High string of the guitar. This would permit the musician to clearly work out almost instantly all the notes of the instrument, by simply counting backwards or forwards each side of these Fret Locator Markers. Again all the natural notes are marked on the guitar where applicable. That is, a professional will not require each natural note to be marked, but will use the C Fret Locator Markers upon 24th fret; 19th fret; 14th fret; 5th fret and open high string to locate all notes on the instrument. It can be stated that other methods of relaying this revolutionary concept to the guitar is applicable here, for with a seven string it could be possible to have seven C Fret Locator Markers across all seven strings by tuning accordingly.

Other objectives of this invention reside in its simplicity, elegance of design, service and use and even aesthetics as will become apparent from the following brief description of the drawings and the detailed description of the concept embodiment. Unfortunately none of the prior art devices singly or even in combination provides all of the features established by the inventor for this system as outlined below.

• Easy to use, learn and teach

• Intuitive

• User Friendly

• Suitable for people of all ages and gender in all types of situations.

• Easily adaptable for other uses

• Creates a cohesive and continuous environment for learning

• Creates music as it is envisioned within the mind of a composer

• Allows music to be learned/composed beyond the limits since music was first realized

• Enables users to create high standards of compositions without ever having played a musical instrument

• Allows people of all ages to interact with a system, that introduces them to music within a fun and enjoyable environment.

• Permits the myriad of these new generation music notation systems to integrate and evolve into several embodiments and formations.

SUMMARY OF THE INVENTION

The present invention therefore provides, according to a first aspect, a scorewriter program comprising computer program code which when executed on a computing device is arranged to carry out the steps of:

^■ receiving 1st and 2nd channels of data, the 1st being data representing a piece of music; and

^■ converting the data into custom music notation of the piece of music. Basic Fundamentals of this Technology

• Preferably, the program is adapted to analyze data corresponding to finger positioning required for the generation of the piece of music; and to map the music data onto the finger positioning data in generating the custom music notation;

• Preferably, the program is arranged to convert the 1st and 2nd channels of data into morpheus music notation of the piece of music;

• Preferably, the program is arranged to generate a graphical user interface and to display the custom music notation on the interface;

• Preferably, the graphical user interface facilitates inputting of the 2nd channel of data;

• Preferably, the program is adapted, via the graphical user interface, to enable the data comprising the 2nd channel of data to be manually mapped onto the music data; and to convert the mapped 1 st and 2nd channels into the custom music notation of the piece of music;

• Preferably, the program is adapted to perform the steps of displaying the piece of music in conventional notation on the graphical user interface; providing a field associated with each note forming the piece of music; enabling the input of the 2nd channel of data into the fields; and converting the resulting data into the custom music notation.

According to a second aspect of the invention there is provided a scorewriter system comprising a scorewriter program according to the first aspect of the invention; computing means on which the program is executable; 1st input means adapted to receive the 1st channel of music data; and 2nd input means adapted to receive the 2nd channel of data;

• Preferably, the system comprises a plurality of sensors which are adapted to be associated with a users fingers and each of which is capable of generating a signal when the respective finger is utilized in playing a musical instrument, which signals comprise the 2nd channel of data;

• Preferably, the 1st input means is adapted to receive MIDI data;

• Preferably, the 2nd input means is adapted to receive signals generated by the finger position sensors;

• Preferably, each sensor comprises a pressure sensor;

• Preferably, each sensor comprises an accelerometer;

• Preferably, each sensor comprises means to indicate the actuation of said sensor;

• Preferably, the scorewriter program is adapted to effect the audio and/or visual playback of a piece of music, and to generate corresponding 1st and 2nd channels of data;

• Preferably, each sensor comprises 1st actuatable indicia; the system being adapted to output the 2nd channel of data to the sensors in order to actuate the 1st indicia;

• Preferably, the system comprises a customized musical instrument comprising 2nd actuatable indicia; the system being adapted to output the 1st channel of data to the musical instrument in order to actuate the 2nd indicia.

As used herein, the term "musical data" is intended to mean analogue or digital music data, for example MIDI data or a MIDI file, in addition to sound such as vocals which may be recorded and played in to the scorewriter, or may be played in live via a microphone or the like, and further sheet or other written music which may be read in using for example optical character recognition (OCR) or the like.

As used herein, the term "Morpheus music notation" is intended to mean a custom music notation system developed by the applicant and for example as described and shown in International patent application no. PCT/IB2005/004173, and in greater detail below.

BRIEF DESCRIPTION OF THE DRAWINGS

I. FIG. 1 illustrates a block diagram that shows the main input signal flow between various components of the Scorewriter/DAW.

II. FIG. 2A illustrates a block diagram displaying output signal flow view from the Scorewriter/DAW in particular with external finger configuration devices and music instrument.

III. FIG. 2B illustrates a block diagram that includes an alternative input/output signal flow process between New Generation MIDI; OCR; Speech Recognition and the Scorewriter/DAW.

IV. FIG. 2C illustrates another block diagram that includes a Microphone Input/Output signal flow process in particular for vocals.

V. FIG. 3A illustrates the Hand Configuration Devices and there preferred adaptation within the invention. VI. FIG. 3B illustrates an inset of FIG. 3 A that is the Hand Configuration LED

Device (H.C.L.D.). VII. FIG. 3C illustrates an inset of FIG. 3A that is the Hand Configuration Sensory

Device (H.C.S.D.) VlII. FIG. 4 illustrates a global view of the preferred signal flow process for the Hand

Configuration Devices of FIG. 3 A.

IX. FIG. 5 illustrates one of the main components of the invention and how each key of a piano/keyboard is given a specific numeric value between 1 and 88 and then how smaller pianos/keyboards are designated with various numeric value ranges. X. FIG. 6 shows a preferred embodiment process for customization of a typical piano/keyboard. XI. FIG. 7 shows a preferred embodiment process for customization of a piano/keyboard having a range of keys all of identical height. XII. FIG. 8 shows a preferred embodiment process for customization of a Guitar or Peripheral Type Music Instrument referred to as {Version 1} .

XIII. FIG. 8 shows a preferred embodiment process for customization of a conventional Guitar referred to as {Version II}.

XIV. FIG. 1OA illustrates the signal flow process for the String Gauge Mechanism. XV. FIG. 1OB illustrates the signal flow process for the Individual Fret Sensory

Mechanism Type I (Input). XVI. FIG. 1OC illustrates the signal flow process for the Individual Fret Sensory

Mechanism Type II (Input/Output).

XVII. FIG. 1OE illustrates an inset of the Individual Fret Sensory Mechanism Type I. It can be either electronic which transmits signals (real-time electronic transcription) to and from the Scorewriter/DAW or simply customized label markers (using cling vinyl material or other adhesive) upon the instrument to indicate the proximity of notes. Only displays numeric values unlike FIG 1OF which displays numeric values (note identification) and alpha character values (finger coordination). XVIlI. FIG. 1OF illustrates an inset of the Individual Fret Sensory Mechanism Type II which mirrors FIG. 1OE except it includes additional information like finger configuration data.

XIX. FIG. 1OG illustrates the New Generation Tremolo Mechanism. XX. FIG. 1OH illustrates an inset of FIG. 1OG displaying an input mechanism process. XXI. FIG. 101 illustrates how the fretboard of a Guitar is customized to permit input/output data to and from the instrument.

XXII. FIG. 10J illustrates an inset of the customized guitar or peripheral and how each fret area has a mechanism embedded within the fretboard that displays new generation music notation data.

XXIII. FIG. 1OK illustrates an alternative inset of the customized guitar or peripheral and how only specific range of numeric values are displayed upon the music instrument i.e., all the white keys of the piano.

XXIV. FIG. 1OL illustrates the Individual Fret Sensory LED Learning Mechanism Type III that is housed within the fretboard of the customized instrument.

XXV. FIG. 1OM illustrates an alternative view of the customized guitar or peripheral that includes the embodiment of FIG. 1OL. XXVI. FIG. ION illustrates how each fret on a guitar is now represented with the new generation music notation system i.e., how each fret includes a range of embodiment from FIG. 5. XXVII. FIG. 1 IA shows the first of four forms of data that is displayed upon the

Scorewriter/DAW interface in particular Conventional Representation; Piano;

Organ and Xylophone. XXVIII. FIG. 1 IB shows the second of four forms of data that is displayed upon the

Scorewriter/DAW interface in particular Dulcimer; Accordian; Guitar; and

Violin. XXIX. FIG. 11C shows the third of four forms of data that is displayed upon the

Scorewriter/DAW interface in particular Harp; Tin Whistle; Clarinet; Drums &

Vocals. XXX. FIG. 1 ID shows the last form of data that is displayed upon the

Scorewriter/DAW interface in particular for Tin Whistle & Clarinet. XXXI. FIG. 12 illustrates an alternative new generation music notation representation upon the Scorewriter/DAW interface that displays Chord Structures to play a music instrument (Piano/Keyboard) rather than just individual notes. XXXII. FIG. 13A illustrates an alternative Chord Version Structure for playing a Keyed

Music Instrument utilizing the {N.G.M.N.F.}.

XXXIII. FIG. 13B illustrates an alternative Scale Version Structure for playing a Keyed Music Instrument utilizing the {N.G.M.N.F.} .

XXXIV. FIG. 13C illustrates an alternative Arpeggio Version Structure for playing a Keyed Music Instrument utilizing the {N.G.M.N.F.} .

XXXV. FIG. 13D illustrates the preferred Chord Structure for playing a Keyed Music

Instrument indicating both note and finger coordination to do so. XXXVI. FIG. 13E illustrates the preferred Scale/Arpeggio Structure for playing a Keyed

Music Instrument indicating both note and finger coordination to do so. XXXVII. FIG. 14A illustrates an alternative Chord Version Structure for playing a String

Music Instrument utilizing the {N.G.M.N.F.} .

XXXVIII. FIG. 14B illustrates an alternative Scale Version Structure for playing a String Music Instrument utilizing the {N.G.M.N.F.} . XXXIX. FIG. 14C illustrates an alternative Arpeggio Version Structure for playing a

String Music Instrument utilizing the {N.G.M.N.F.} . XL. FIG. 14D illustrates the preferred Chord Structure for playing a String Music

Instrument indicating both note and finger coordination to do so. XLI. FIG. 14E illustrates the preferred Scale/Arpeggio Structure for playing a String

Music Instrument indicating both note and finger coordination to do so. XLII. FIG. 14F illustrates the preferred Scale/Arpeggio Structure for playing a String Music Instrument indicating both note and finger coordination to do so on a higher portion of the instrument. XLIII. FIG. 14G illustrates an alternative representation formula for playing Tapping

Patterns upon a String Music Instrument utilizing the {N.G.M.N.F.} . XLIV. FIG. 14H illustrates another alternative representation formula for playing Tapping & Pull Off Patterns upon a String Music Instrument utilizing the {N.G.M.N.F.} .

XLV. FIG. 15 illustrates an alternative new generation music notation representation upon the Scorewriter/DAW interface that displays Chord Structures to play a music instrument (Guitar/String Instrument) rather than just individual notes. XLVI. FIG. 16 illustrates how Conventional Music Notation whether it be in print or electronic form can be manipulated to output the new generation music notation system upon the Scorewriter/DAW interface. XLVII. FIG. 17A illustrates a Conventional Music Notation System representation in particular 5 Bars from The Hungarian Rhapsody No.2 composed by Franz Liszt. XLVIII. FIG. 17B illustrates the New Generation Music Notation System representation in particular 5 Bars from The Hungarian Rhapsody No.2 composed by Franz Liszt.

DETAILED DESCRIPTION OF THE PREFERRED EMBODIMENT

FIGURE 1 illustrates a block diagram that shows the main input signal flow between various components of the Scorewriter/DAW. Indicated are user 2; customized finger configuration devices 4; customized music instruments 6; data analyzer/converter 8 and the scorewriter/DAW system 10 itself. In a typical embodiment the following is outlined. User 2 uses the customized finger configuration devices 4 to play the customized music instrument 6. These signals are then transmitted to the Scorewriter/DAW catalogued, organized and converted and displayed upon an interface via the Data Analyzer/Converter 10. This process is particularly relevant to the transcription of music in its various incarnations.

FIGURE 2A illustrates a block diagram displaying output signal flow view from the Scorewriter/DAW in particular with external finger configuration devices and music instrument. This particular figure is showing a reversal of the process described in Figure 1 in that information is now output to various components to enhance the process whether it be Finger Configuration Electronic Data 50; Performance Generator 52; Tone Generator 54 or Music Instrument Data 56. All information is regenerated into consistent electronic form and distributed via 8 to external devices 4, 60 and 60. This process is particularly relevant when a consumer is learning a music instrument with or without the use of a customized music instrument of finger configuration device.

FIGURE 2B illustrates a block diagram that includes an alternative input/output signal flow process between New Generation MIDI; OCR; Speech Recognition and the Scorewriter/DAW. In this figure drawing it shows how the Scorewriter/DAW can contain enhancements or front-end applications that convert conventional MIDI File Formats 70 aswell as Conventional Sheet Music in print formats via Optical Character Recognition Data 72 processes and in spoken formats via Speech Recognition Data 74 processes. So in essence the Data Analyzer/Converter 8 can convert conventional electronic data; print formats and speech formats into a new generation music notation fingerprint which is then displayed upon the Scorewriter/DAW interface.

FIGURE 2C illustrates another block diagram that includes a Microphone 80 Input/Output signal flow process in particular for vocals. This particularly references how the audio electronic data from a vocalist can be transmitted into the Scorewriter/DAW upon which is then converted via 8 into the new generation music notation system.

FIGURE 3 A displays two types of Hand Configuration Sensory Devices as disclosed in the authors aforementioned applications. The authors' new design harnesses two incomparable forms of data that for the first time allow a musician to transcribe music in real-time as they play a musical instrument. These two forms of data utilize the embodiment of the {N.G.M.N.F.} and create a unique fingerprint design in making such a concept possible. Custom software allow the specific data to be uploaded or downloaded into a program creating precise transcriptions of music for the first time using specific note designations, specific hand coordination, tempo, time signature, moods and dynamics of music for every musical instrument. These Hand Configuration Sensory Devices 102 and 104 can be built in the form of small sensors and LED's atop the fingerprint area of each finger, or the technology design is adapted into a sensor, wire(less) glove. For specifics, prior designs that have been manufactured utilize conventional methods and systems, so novelty occurs as soon as these systems devices and designs utilize the authors' N.G.M.N.S.. These conventional devices include such mediums as a wired glove.

Within the authors' prior and current disclosed designs a new unique Hand Configuration Sensory Device 104 and unique Hand Configuration LED Device 102 are manufactured, which can be viewed in Figure 3 A. The former Device 104 utilizes a specific signal 112 that is transmitted/received from or to 104 into the Scorewriter/DAW system. For convenience this system will be referred to herein within this application as a Virtual Interactive Scorewriter System {V.I.S.S.}. This signal is split among the ten fingers of the left and right hands in which say for example a specific alpha character is assigned to each finger upon each hand that is A thru J. This character need not be a letter, but rather a carrier signal that indicates exact hand coordination to play a musical instrument upon specific interfaces displaying this unique universal music notation. For convenience this will be referred to herein within this application as the New Generation Music Notation Fingerprint {N.G.M.N.F.}. Upon playing a musical instrument the specific hand coordination for playing every single note upon that instrument is transmitted to a software program. So in essence, the exact moment in milliseconds (or higher time measure magnification) that a musician depresses a key of a piano for example, the software program understands that the index finger of the Right Hand 100b represented with an alpha character (G) was used to depress a specific note upon the instrument at a specific moment in real-time. The data is then collected, organized, stored and converted into the authors' {N.G.M.N.F.} This device 104 will then allow thousands of pieces of music for all musical instruments to be transcribed individually or collectively within a relatively short time. It will negate the requirement for music transcribers to aurally and literally transcribe music, which is an astronomical task in itself. For example a UK degree professional has taken on the task of transcribing all the orchestral music contained in the motion picture "The Wizard of Oz". Upon transcription the motion picture will be screened without the original soundtrack music in real-time, with an orchestra playing the music in synch with the film. In summary conductor and arranger John Wilson transcribed Harold Arlen and Herbert Stothart's music and conducted the Royal Liverpool Philharmonic Orchestra in a live performance of the original score accompanying the original film, stripped of all its musical elements to leave only sound effects, dialogue and singing. It premiered on January 7, 2007 at the Liverpool Philharmonic Hall. An example of the difficulty of this task was how it took the degree professional several weeks to transcribe just four seconds of music.

The second device referred to as the Hand Configuration LED Device 102 does not contain any sensors upon the fingertips. This device uses the data 108 originally collected via the device 104 and V.I.S.S. and using different forms of visual aids upon 102 helps the amateur or professional to play a specific piece of music with the correct finger coordination. This device 102 can be used for educational purposes or entertainment purposes using both software programs inside the V.I.S.S. For example when the user wears 102 upon the left and right hands together or individually, they interact with specific educational curriculums and entertainment software to become the level of musician they wish to become, without the aid of a music teacher or professor. The same applies to educational programs, but it would be mandatory that such programs for education be verified and analyzed by qualified governmental bodies for each country before being released to the public. Not doing so under strict licenses, could be detrimental to the education of music. Incorrect information would be learned by the public and this would only add to the problems already there with regard the decline of music education throughout the globe.

FIGURE 3B is an inset of Figure 3A. It shows the embodiment as previously disclosed in the authors aforementioned applications. The Hand Configuration LED Device 102 displays using light emitting diode visual aids via specific signals 108 gathered in the transcription of music using device 104. So, in summary the Hand Configuration Sensory Device 104 is used to transcribe music and the Hand Configuration LED Device 102 is used to teach/interact/interpret this music transcription to the user via light emitting diode visual aids. For specification only one type of signal 108 is transmitted/received via 102. That signal type is typically Hand Coordination for playing any musical instrument. Irrespective of whether the musical instrument is a Classical Piano or a Percussion or Drum Kit, the same concept applies. The device 102 calculates, retrieves this information using the fastest means and technology in communication possible, to interpret the signal into a Software Program, thus providing exact hand configuration via 108 for playing musical instruments from each notation system.

FIGURE 3C is an inset of Figure 3 A. It shows the embodiment as previously disclosed in the authors aforementioned applications. The Hand Configuration Sensory Device 104 is worn by the user who wishes to transcribe a piece of music. Depending on which finger for example: index finger 100b or other limb that is used to play the specific note upon the musical instrument determines the signal that is transmitted to the Software Program. So, in summary the Hand Configuration Sensory Device 104 is used to transcribe music and the Hand Configuration LED Device 102 is used to teach/interact/interpret this music transcription to the user via light emitting diode visual aids. For specification only one type of signal is transmitted/received via 104. That signal type is typically Hand Coordination for playing any musical instrument. Irrespective of whether the musical instrument is a Classical Piano or a Percussion or Drum Kit, the same concept applies. The device 104 calculates using special touch sensors, retrieves this information using the fastest means and technology in communication possible to interpret the signal into a Software Program, thus providing exact hand configuration via 1 12 for playing musical instruments from each notation system.

FIGURE 4 shows the main signal flow diagram for the device 102 and 104. It revolves around an interactive environment, whereby all software programs communicate with each other in the learning of all musical instruments through entertainment and educational syllabuses and general education schooling through pre- installed syllabuses upon the V.I.S.S.. This drawing references embodiment as previously disclosed in the authors aforementioned applications. The Link or Connection to Hand Configuration Devices 116 is the reference point for communication between 102, 104 and each musical instrument. Each Indicator upon each sensor or light emitting diode is represented with an alpha character for example: A-which indicates the Pinkie Finger of the Left Hand. All finger sensors and light emitting diodes are represented with an alpha character A thru to J that is 120a, 120b, 120c, 12Od, 12Oe, 12Of, 12Og, 12Oh, 12Oi and 12Oj and the specific hand coordination signal 122 determines the data that is sent to the Software Programs. As described earlier, these alpha characters need not be the source for the data that is transmitted; it could also be a numeric value, or any symbol from the vast list available within a Word Processor. Irrespective of what symbol or character is used the main fundamental however, is that the Software Programs understand that when a specific finger plays any note upon a musical instrument, it recognizes the data and organizes this data into specific hand coordination inside the authors' {N.G.M.N.F.} for all musical instruments.

FIGURE 5 displays how a full length classical piano is assigned a numeric value range between 1 and 88. Underneath it shows how a full length piano is represented on a smaller piano or keyboard. In the first example 150a each individual key of a piano is assigned an individual character 152a and then in subsequent examples {sixty-one key 150b and seventy-six key 150c music instruments} a piece of that piano range is applied to smaller pianos/keyboards. So in other words, Middle C i.e., 152a; 152b and 152c are always the numeric value forty irrespective of its size.

FIGURE 6 is a diagram of a proposed musical instrument 250 previously disclosed in the authors' prior applications. It is similar to Figure 7 except that Figure 7 has keys upon the instrument that have equal height off the keyboard area i.e., the Black (unnaturals) keys are the same height as the White (naturals) keys. Could be of various sizes depending on the octave range that is required by the manufacturer. This customized piano or keyboard houses the Key Mechanism of Piano Version 1 280a underneath each key which contains the embodiment that permits specific data signals 280b to be transmitted via the keys or other parts of the instrument, to indicate exact key transcription into the V.I.S.S.. Light Emitting Diodes upon these mechanisms also allow for interactive learning, in that the user is following a sequence of lights in the playing of the musical instrument in synchronization upon the hands and upon the musical instrument itself. Additionally, for specification these customized pianos/keyboards (and other musical instruments) could be manufactured for children or adults who may have a smaller hand span than another adult. In other words Digit Ratio when building a customized musical instrument will be taken into account to accommodate many sizes of hands. The above embodiment also references all other categorized musical instruments. Even though the author discloses mechanisms for some musical instruments inside this application, one can concur that such mechanisms can integrate into every musical instrument or those still to be invented.

FIGURE 7 is a diagram of a proposed musical instrument 252 previously disclosed in the authors' prior applications. It is similar to Figure 6 except that Figure 6 has keys upon the instrument that have unequal height off the keyboard area i.e., the Black (unnaturals) keys are of increased height in comparison to the White (naturals) keys. Similar disclosure given for Figure 6 applies to Figure 7.

FIGURE 8 is a drawing of a proposed musical instrument 254 in this case a customized Guitar or Peripheral (Version I), of which embodiment has been previously disclosed in the authors' prior applications. This customized string instrument can house three main types of mechanisms 284d, 284e and 284f within the Fretboard and Fretboard Surface of the entire fingerboard of the Guitar. These mechanisms contain embodiment that permits specific data signals 300b, 300c and 300d to be transmitted via the strings / frets or other parts of the instrument to indicate interactive learning and exact instrument transcription into the V.I.S.S.. Also shown is the String Gauge Mechanism for the Guitar 284b applicable to all the other strings if applicable. Also displayed is a New Generation Tremolo Mechanism 284a which permits a unique way of playing an instrument such as the guitar. Rather than strum or pick the strings with fingers, the user is able to depress certain button controllers 304b thru to 304g thus a unique guitar sound is created. This would be ideally suited to peripheral guitars that do not contain conventional guitar strings like the Low E String 314a. It is also worth mentioning that such a concept could also be introduced into other musical instruments. Using other indicators one can also transmit / receive via customized glove, the correct hand coordination used to create the fundamental frequencies upon the Guitar. For example: the user strikes a specific string upon the guitar and two signals are transmitted to guitar/software; one indicates the string and fret that has been depressed and the other signal indicates the finger configuration that was used to depress the string upon the fret. This information is analysed by the software inside the V.I.S.S. and organizes the data into a structured notation system for the Guitar.

FIGURE 9 a customized conventional guitar is shown to a preferred embodiment incarnation which contains six strings. However, it is more than obvious that conventional Acoustic, Electric & Bass Guitars can contain several amounts of strings, some catering for musicians up to thirteen to fifteen or more strings. Such disclosure makes it obvious that the authors' customized musical instrument could be adapted to suit such additional amount of strings. The customized musical instrument also does not require strings to operate. The instrument could just contain a specific set of mechanisms 284d, 284e or 284f within the fretboard of the instrument. The user can then successfully depress the mechanism 284e as an example all across the musical instrument, thus creating a sound to mimic a fundamental tone. Upon depressing the mechanism an input signal is transmitted to the software which in synchronization outputs a pre-programmed note matching the note they depressed on the string instrument.

FIGURE 1OA displays an inset of Figure 8. This signal data 300a permits electronic music transcription into the V.I.S.S. Displayed is the String Gauge Mechanism 284b and its proximity in relation to the Low E String 314a/286b upon the Guitar 256. The String Gauge Mechanism 284b across all strings identifies the string that has been engaged while the other mechanisms 284d, 284e or 284f upon every fret across the guitar, identify the exact fret that has been engaged by the user. This mechanism 284b transmits/receives the data 300a for transcription into the V.I.S.S. This indicates the string that has been struck or played. FIGURE 1OB is again an inset of Figure 8. This signal data 300b creates an electronic learning experience for the user. Displayed is the Individual Fret Sensory Mechanism Type I (Input) 284d and its proximity in relation to the D String 286b upon the Guitar 256. The Mechanism 284d across all the frets of the guitar identifies the fret that has been engaged while the other mechanisms 284e or 284f upon every fret across the guitar, identify the exact fret that has been engaged by the user using other formations for interactive learning. This mechanism 284d transmits/receives the data 300b for interactive electronic learning via the software from the V.I.S.S. This indicates the correct string and fret that has been struck or played, aswell as the correct finger coordination using alpha characters A thru J associated with a specific finger of the hands.

FIGURE 1OC is again and inset of Figure 8. This signal data 300c creates an electronic interactive experience for the user. Displayed is the Individual Fret Sensory Mechanism Type II (Input/Output) 284e and its proximity in relation to the Low E String 286c upon the Guitar 256. The Mechanism 284e across all frets identifies the fret that has been engaged or needs to be engaged while the other mechanisms 284d or 284f upon every fret across the guitar, identify the exact fret that has been engaged by the user using other formations for interactive learning. This mechanism 284e transmits/receives the data 300c for interactive electronic learning via the software from the V.I.S.S. This indicates the correct string and fret that has been struck or played, aswell as the correct finger coordination using alpha characters A thru J associated with a specific finger of the hands.

FIGURE 1OE is a drawing of the Individual Fret Sensory Mechanism Type I (Input) 284d (no light emitting diodes). It is specifically used for electronic transcription of music by a user who is familiar with music. Numeric values appear (natural notes only) upon the mechanism embedded all across the guitar fretboard, thus supplying a guide to a user on which note on a guitar corresponds to a specific key on a classical piano. In the example shown the mechanism is underneath the 1^st fret of the High E String thus it indicates a numeric value of forty-five (that is the 45^th key on a classical piano (F4). The same mechanism embedded under the 1^st fret of the G String would not contain any numeric value as it is an un-natural note (G#3) (that is the 36^th Key on a Classical Piano). Alternatively, one could also indicate each fret with a number between one and twenty four (general reference) but the user needs to re-learn if they are to become familiar with music quickly. It is rather pointless to have the fret values upon the mechanisms for if one learns the correct way the first time, there is no confusion. Learning two different methods creates confusion.

FIGURE 1OF is a drawing of the Individual Fret Sensory Mechanism Type II (Input/Output) 284e (light emitting diodes). It is specifically used for interactive electronic learning of music by a user who is not familiar with music. Numeric values appear (natural notes only) upon the mechanism embedded all across the guitar fretboard, thus supplying a guide to a user on which note on a guitar corresponds to a specific key on a classical piano. In the example shown the mechanism is embedded underneath the 1^st fret of the D String thus it may indicate (if applicable) a numeric value of thirty-one (that is the 31^st key on a classical piano (D#3) aswell as an alpha character of "C" (that is play the fret with the Middle Finger of the Left Hand). An alpha character of "H" would indicate the specific fret is to be depressed with the Middle Finger of the Right Hand. So, in theory because this numeric value (thirty-one) represents a black note on a classical piano the numeric value thirty-one will not be indicated upon the mechanism. The same mechanism embedded under the 10^th fret of the High E String would contain a numeric value as it is a natural note (D5) (that is the 54^th Key on a Classical Piano). It could be applicable that a manufacturer labels all the mechanisms with a numeric value (that is black notes and white notes) between twenty thru to sixty- six for a conventional twenty-two fret length guitar, but leaving the unnatural notes unmarked is advisable as it permits the user to learn at a much faster pace.

FIGURE 1OG is a drawing of the New Generation Tremolo Mechanism 284a from Figure 8. This mechanism operates in conjunction with the other mechanisms 284d, 284e or 284f which can be embedded within the fretboard. To create a fundamental tone the user depresses a specific fret on the instrument using the relevant mechanism button for example: 284d would indicate the forty-fifth (F4) note equalivent of a classical piano. These mechanisms 284d would be underneath the fret area of every note on the guitar in other words a standard six string would contain one hundred and thirty-two fret mechanisms. So the user depresses the specific fret mechanism. In synchronization with depressing the fret mechanism 284d, 284e or 284f they depress Button Controller 304g thus the particular note the user wants to create is heard. An optional tuner for strings could also be included here. These would not be required upon a customized string instrument or peripheral that does not contain any strings, obviously because if one has no strings then one is not permitted to tune the strings. A tremolo arm 304a is also shown which can alter the pitch of the fundamental tone over many octave ranges if required. Obviously the concept would integrate into Double Neck Guitars, Fretless, Harp & Lyre Guitars also whereby specific signals are identifiable with a certain guitar neck within the Software Programs of the V.I.S.S. Ideally, this mechanism is to be used with any conventional guitar but would be more desirable on a customized guitar peripheral that does not contain any strings. It just creates the illusion to the user on the coordinates of where their strumming hand would be if they were playing a guitar. Therefore a constructive concept is introduced to the user who rather than concentrating on the plucking technique of guitar stings can concentrate on finger coordination for depressing the frets.

New Generation Tremolo Mechanism

The New Generation Tremolo Mechanism 284a is an integral part of the customized guitar or peripheral, whereby novel users are not required to pick or strum a guitar string. An analogy of this is similar to when a person begins to drive a car. At first they can find it very difficult to operate the Clutch, Accelerator and Brake while at the same time operating the other controls of the car like the Steering Wheel, Indicators and Headlights. Over time, the driver no longer needs to assign so much concentration to each task within the brain. This mechanism can either be custom installed on a conventional musical instrument, or installed on a conventional guitar, thereby adding another dimension to the musicians' playing of the instrument. The Mechanism is divided into the following areas: Tremolo Arm 304a; Button Controllers 304b thru to 304g and the Optional String Tuners 304h.

The Tremolo Arm 304a allows the user to alter the pitch of the musical note being created from the conventional guitar, or upon the musical note that is created from a software output as a direct result of an input from a mechanism. The Button Controllers 304b thru to 304g are much like the buttons upon a remote control for a television. By depressing the button a certain function is performed. In this instance each button controller is aligned to each of the six or seven (or more) strings upon the guitar. In order to engage the string being depressed by the Left Hand fingers in synchronization the user depresses the relevant controller. It is similar to how a Digital Organ operates. A Digital Organ requires the user to depress specific foot pedals in order for them to be permitted to create a sound on the keyboards of the organ. An analogy is the inhale exhale process of the human being. For example the user depresses a specific fret on the Low E String of the Guitar (exhale motion), therefore in synchronization they must depress the button controller 304b (inhale motion). Each button controller is aligned to each string that is, 304b is linked to the Low E String; 304c is linked to the A String; 304d is linked to the D String; 304e is linked to the G String; 304f is linked to the B String and 304g is linked to the High E String. Using Figure 1OH one can see how each button controller has three separate parts 308a, 308b and 308c. Each of these allow various techniques to be achieved on the instrument. For example; if the user wishes simply to play a note on the instrument, they depress at point 308b. If they wish to perform a bend upon the note depending on the direction (pitch) of bend they wish to achieve is related to 308a (bend pitch at lower pitch) or 308c (bend pitch at higher pitch). The optional tuners 304h allow the user to fine tune the musical instruments' strings as is possible on a conventional guitar. By simply turning these clockwise or anti-clockwise has an effect on the tuning for the string. For specifics to operate the mechanism the following is disclosed:

• Option 1-User purchases the customized guitar (with strings) with the pre- installed customized new generation tremolo arm;

• Option 2-User purchases the customized new generation tremolo arm and installs it upon their conventional guitar;

• Option 3 -User purchases the customized guitar/peripheral (without strings) with the pre-installed customized new generation tremolo arm;

• User connects up the customized guitar to the V.I.S.S. which can either be in the form of a desktop application program or other software multimedia device;

• User then interacts with the system in learning the musical instrument, or playing the instrument;

• Sound Output 1 -can be created as a direct result of a user engaging the button controllers (in synch with depressing the fret mechanism) and an input command is transmitted 306 to the software, which in turn outputs a stereo signal identical to the live recorded guitar sound through external speakers;

• Sound Output 2-can be created upon a conventional guitar that has the tremolo mechanism installed, wherein instead of conventionally strumming or plucking the strings of the guitar, the user uses the button controllers to engage the sound of the string from the conventional guitar;

So in essence the new generation tremolo mechanism can create sounds based upon an input from a peripheral device or can create sounds based upon the real sound of the conventional guitar (via an amp and other effects). An analogy is again of a remote control for a television whereby the user depresses a button which changes the channel, except in this instance when the user depresses a button it inputs a signal for the software to react in synchronization which it in turn outputs a particular audio signal.

FIGURE 1OH is an inset of the New Generation Tremolo Mechanism 284a from Figure 1OG. The Button Controllers 304b thru 304g would be made of strong material. In the inset only two Button Controllers 304b and 304c are shown. 308a and 308c applicable to 304b; 308d and 308f applicable to 304c alter the pitch over a few semitones much like how a conventional guitarist would bend a note with his finger. By depressing 308b once upon Button Controller 304b mimics a user striking the Low E String of the guitar string once. By depressing in succession mimics several strikes while holding the button area 308b down mimics rapid repeated strikes. This same concept applies to 308e. In theory what occurs is: If a user wishes to play a fret upon the Low E String they depress Button Controller 304b in synch with the particular fret. The user can also affect a pitch bend upon a fundamental tone by simply pushing the Button Controller forward 308c (plus) or backward 308a (minus).

FIGURE 101 an inset of Figure 8 is shown. Displayed is the Individual Fret Sensory Mechanism Type I (Input) 284d and its proximity in relation to the High E String 286b upon the Guitar 256. This mechanism 284d transmits/receives the data 300b for transcription into the software program of the V.I.S.S..

FIGURE 10J is also an inset of Figure 8 whereby embodiment shows how every fret upon the musical instrument is represented with an Individual Fret Sensory Mechanism Type 1 284d. As soon as a musician or user would depress any specific fret upon the Guitar a signal 300b is sent to the software which when transcribed informs of what fret was depressed and at what exact moment. This embodiment references how every single fret (natural notes and un-natural notes) are displayed upon the customized musical instrument. In the drawing the natural notes would be (20, 21, 23, 25, 27, 28, 30, 32, 33, 35, 37, 39, 40, 42, 44, 45, 47, 49) and the un-natural notes would be (22, 24, 26, 29, 31, 34, 36, 38, 41, 43, 46, 48).

FIGURE 1OK is a drawing of a proposed musical instrument 256 in this case a customized Guitar (Version II), of which embodiment has been previously disclosed in the authors' prior applications. Displayed is an Individual Fret Sensory LED Learning Mechanism Type III (Input/Output) 284f which uses lights, customized label markers, numeric values upon Cling Vinyl or other indicators to display correct format of depressing frets to a musician while playing the guitar. With regards to its proximity upon the Guitar in relation to the Low E String 314a upon the Guitar, the mechanism 284f is underneath every note upon the musical instrument. This mechanism 284f transmits/receives different guidance data 300d, for transcription into the software program of the V.I.S.S. Even though the Fret Mechanisms 284d, 284e, or 284f will be underneath every fret upon the String Instrument the numeric value markings will only be upon the natural notes/fret mechanisms of the guitar. So in the example of Figure 1OK the following numeric values are only indicated upon the musical instrument: 20, 21 , 23, 25, 27, 28, 30, 32, 33, 35, 37, 39, 40, 42, 44, 45, 47, 49, 51, 52, 54, 56, 57, 59, 61, 63, 64 and 66 upon a six string guitar. In this case the sharps which are not indicated upon the musical instrument are 22, 24, 26, 29, 31, 34, 36, 38, 41, 43, 46, 48, 50, 53, 55, 58, 60, 62 and 65 but a mechanism is still present underneath the fingerboard, without a numeric value marking. This can be viewed in Figure 1OM in that the 1^st fret of the High E String falls upon a natural note that is (F4) labeled forty-five; 1^st fret of the D String falls upon a sharp/flat note that is (D#3) not labeled and 1^st fret of the Low E String falls upon a natural note that is (F2) labeled twenty-one. This concept is applicable to all musical instruments.

FIGURE 1OL is a close-up of the Individual Fret Sensory LED Learning Mechanism Type III (Input/Output) 284f which is under every fret on the Guitar 256. Displayed are 316a indicating correct fret to play; 316b indicates when to depress the fret & 316c is an Optional Extra Indicator for other guidance indicators. Also shown are 316d thru to 316h which indicate correct finger coordination for the Left Hand; 316i indicates whether to use a Plec or not to play a specific string on the instrument and finally 316j indicates the string movement to sound a tone upon the musical instrument. 284f is in essence a guidance mechanism upon a guitar which aids a user to play a guitar without the aid of a music teacher whether through the V.I.S.S.

FIGURE 1OM is an additional view of Figure 8 in which the Individual Fret Sensory LED Learning Mechanism Type III (Input/Output) 284f is shown its position upon the fretboard of the Guitar. Reference to the Low E String 314a is displayed, aswell as the concept unveiled by the author in which only the natural notes and their mechanisms are indicated with a numeric value.

FIGURE ION is a diagram of a seven string guitar fingerboard layout of all the notes on a guitar and how each reference a certain numeric value upon a classical piano. In the drawing it shows how each individual fret area could be marked either with an adhesive sticker (customized label marker) process like Cling Vinyl or other adhesive material, embossed area or with mechanisms 284d, 284e and 284f that are embed within the fretboard. The fretboard in order to house the mechanism can be made of quality wood (natural guitar manufacturer material); plastic (as discussed with regards cheap replicas that can be purchased by an entire school for all users) or a strip of soft material placed over the fretboard area of a conventional guitar or custom guitars with a fretboard made with such material. These processes would either accommodate the aforementioned process of customized label markers, adhesive labels, emboss vales upon fretboard or embed mechanisms within the fretboard area. As can be seen from the drawing only certain frets (natural notes) are marked while others are not (sharps/flats). It is obvious from the drawing that every fret upon the customized musical instrument will contain sensor mechanisms 284d, 284e and 284f with only the natural note mechanisms labelled with a numeric value. If this were not the case only certain frets (the natural notes) would input/output data to and from the V.I.S.S. For specifics the three Fret Mechanisms and their concepts are disclosed as follows:

Individual Fret Sensory Mechanism Type I

Individual Fret Sensory Mechanism Type I (Input) 284d of which specific signal flow data 300b is input/output utilizing embodiment described in the authors aforementioned applications. Data transmitted indicates the exact fret that has been depressed by the musician. This mechanism will be used by a musician who wishes to transcribe music directly into the V.I.S.S.. These mechanisms would be within the fretboard directly underneath every fret with only numeric value markings upon each mechanism which indicate the natural notes of a classical piano (that is all the white keys). Type I 284d will not contain any light emitting diodes unlike Type II 284e, as it is taken that the user does not require interactive teaching through light emitting diodes. In the example shown from Figure 8 it indicates the 45^th key of a piano, thus this mechanism would be housed within the fretboard underneath the 1st fret of the High E String.

Individual Fret Sensory Mechanism Type II

Individual Fret Sensory Mechanism Type II (Input/Output) 284e of which specific signal flow data 300c is input utilizing embodiment described in the authors aforementioned applications. Data transmitted indicates the exact fret that has been depressed by the musician and can be used by consumers in the V.I.S.S.. These mechanisms would be within the fretboard directly underneath every fret with only numeric value markings upon each mechanism which indicate the natural notes of a classical piano (that is all the white keys). Type II 284e will contain light emitting diodes unlike Type I 284d, as it is taken that the user will require interactive teaching via light emitting diodes. In the example shown in Figure 8 it indicates the 31^st key of a piano, thus this mechanism would be housed within the fretboard underneath the 1st fret of the D String.

Individual Fret Sensory LED Learning Mechanism Type HI Individual Fret Sensory LED Learning Mechanism Type III (Input/Output) 284f of which specific signal flow data 300d is input/output utilizing embodiment described in the authors aforementioned applications. Data transmitted indicates the exact fret that has been depressed by the musician and can be used by consumers in the V.I.S.S. for liaising comprehensive music theory. The user follows the Advanced Scorewriter/DAW interface, the Light Indicators on the frets within the mechanism and then depresses the correct numeric values which correspond to the music. Advanced Scorewriter/DAW interface would mean Music Theory indications for the Rhythm of Music that is guidance and instruction all across the musical instrument. These mechanisms would be within the fretboard directly underneath every fret with only numeric value markings upon each mechanism, which indicate the natural notes of a classical piano (that is all the white keys). For specifics the Individual Fret Sensory LED Learning Mechanism uses lights, labels (customized label markers), numeric values upon Cling Vinyl or other indicators to display correct format of depressing frets, plus rhythm of music representations to a musician while playing the guitar. In the example the 1^st fret of the Low E String of a Guitar is represented by a numeric value of one or twenty-one (F2) utilizing the {N.G.M.N.F.} .What is proposed is that these indicators are only required to be introduced into all the natural notes upon the Guitar. The Sharps do not require same, but they can be introduced also if desirable. So in the example of Figure 1OM the following numeric values are only indicated upon the musical instrument: 20, 22, 23, 25, 27, 28, 30, 32, 33, 35, 37, 39, 40, 42, 44, 45, 47, 49, 51, 52, 54, 56, 57, 59, 61, 63, 64 and 66 upon a six string guitar. In this case the sharps which are not indicated upon the musical instrument are 22, 24, 26, 29, 31, 34, 36, 38, 41, 43, 46, 48, 50, 53, 55, 58, 60, 62 and 65. This concept is applicable to all musical instruments.

FIGURE 1 IA is a drawing that depicts the Scorewriter Software notation for all musical instruments 402. A divisional gap between each notation system 404 is shown. As previously disclosed in prior application, individual notation systems have been developed by the author for every musical instrument throughout the globe. Each individual notation system is divided up into the following areas: Conventional Notation System 400; Keyed Notation I for Classical Piano/Keyboard 406a; Keyed Notation I for Digital Organ 408a; Keyed Notation II for Xylophone 410a. In the drawing certain embodiment is shown to identify certain parts of the new generation music notation for each musical instrument. For example: The Numeric Value Indicator for Piano 406b holds the specific notes that are being played upon the Piano. In this case the 42ⁿ note (D4 note). In the drawing the Reference for Right Hand Pinkie Finger 406c and Reference for Left Hand Thumb 406d are indicated. Any numeric values that are placed upon any horizontal line indicates finger coordination to play such notes. Using the same embodiment the Numeric Value Indicator for Digital Organ 408b and Reference for Right Hand Pinkie Finger 408c and Reference for Left Hand Thumb 408d and Reference for Foot Pedal Orientation of Digital Organ 408e create a structure for playing music upon a Digital Organ. Organs are usually made up of two manual keyboards, so any additional keyboards would simply require the user adding an additional set of five horizontal lines to the structure to accommodate same. Each Foot Pedal is assigned a specific value like B 1 thru to B 13 covering a full octave. These pedals need to be depressed when a user plays notes on an Organ. This action releases the air pressure required to play the notes on the Instrument. So in theory the structure assigns Bl=C Pedal; B2=C# Pedal; B3=D Pedal; B4= D# Pedal; B5=E Pedal; B6=F Pedal; B7=F# Pedal; B8=G Pedal; B9=G# Pedal; BlO=A Pedal; Bl 1=A# Pedal; B12=B Pedal and B 13=C Pedal. Any additional pedals are simply assigned a numeric value using the same configuration. Within music notation for the Xylophone each horizontal line references a specific row of wooden/metal bars upon the Xylophone. Hand Coordination can then be liaised to a user by assigning either an alpha character to either hand for example: A= Left Hand and B= Right Hand or one could use a minus (-) sign for Left Hand and plus (+) sign for the Right Hand. Many symbols could be used to liaise such configurations to a user. The Hand Configuration on Xylophone 410b is indicated in this case using alpha characters so in the drawing the alpha character (B) is placed beside the 42^nd note informing the user to use the Right Hand Hammer to play the note. Each row is represented by a horizontal line therefore the Upper Row of Wooden/Metal Bars 410c and Lower Row of Wooden/Metal Bars 41Od can be confirmed along with the Numeric Value Indicator for Xylophone 41Oe that references the notes created on the Xylophone.

FIGURE 1 IB adjoins Figure 1 IA with a drawing of the Scorewriter Software notation for all musical instruments. As previously disclosed in prior application, individual notation systems have been developed by the author for every musical instrument throughout the globe. Each individual notation system is divided up into the following areas: Keyed Notation II for the Dulcimer 412a; Keyed Notation III for the Piano Accordian 414a; String/Fret Notation for the Guitar 416a; String/Non-Fret Notation for the Violin 418a. As before certain embodiment is shown to identify certain parts of the new generation music notation for each musical instrument. For example: each set of strings upon the Dulcimer are represented using horizontal lines. Therefore the following create a simple structure for any note to be represented upon the Dulcimer. These are: 3^rd Uppermost Set of Strings (C6/F5/Bflat4) of Dulcimer 412b; Dulcimer Area Locator 412c; 11^th Lowermost Set of Strings (B4/E4/A3) of Dulcimer 412d. Accordingly as each note needs to be played upon the Dulcimer either the alpha characters 'L', 'C or 'R' are placed upon any of the horizontal lines. For example: in the last bar in order to create certain tones the Dulcimer Hammer is used to strike the Centre Section and Left section of C#5 Strings and F#4 Strings respectively. This action creates one tone that is, the 46^th note on two areas of the Dulcimer. Subsequent to this the music notation structure is shown for the Piano Accordian in which the embodiments Reference for Right Hand Index Finger 414b; 5^th Outermost Row of Buttons on Bass Section of Accordian 414c; Finger Configuration Indicator on Bass Section of Accordian 414d enable a user to see what notes are being played on both sides of the Piano or Button Accordian. For example: in the last bar the user is being instructed to play the 46^th note (F#4 note) with the Right Hand Index Finger and in synch play the 10^th button on the 3^r innermost row of the Bass Section of Accordian. Then we have a structure for the Guitar in which the Reference for Low E String on Guitar 416b; Finger Configuration Indicator 416c are shown. Any note that is required to be displayed appears on any of these six horizontal lines. Guitars come in various sizes so any additional strings are represented with additional horizontal lines. One can concur that a user can substitute the numeric values (which references notes on a piano) with numeric values from one to twenty-four which would reference frets. However, by using the values as they reference a piano familiarizes the user with the notes of music across all musical instruments. It is also feasible for these values to be substituted with the conventional reference value like A5 or C4. Finally, in the drawing the structure is shown for the Violin. Each reference creates a simple music notation that enables one to see what note is being played on the violin aswell as the finger coordination that was used to create that note. In the drawing the Low G String on Violin 418b; High E String on Violin 418c; Finger Configuration Indicator of Violin 418d; Reference for Open A String on Violin 418e; Numeric Value Indicator for Violin 418f are shown in which if one takes the last bar the 46' note (F#4 note) is being displayed and is played with the Left Hand Ring Finger (B). Additionally as mentioned on previous occasions it is possible that these numeric values could be substituted with their conventional values like F4 or C4 notes. However, by using the numeric values shown familiarizes the user with how each note references the classical piano. FIGURE 11C adjoins Figure 1 IB with a drawing of the Scorewriter Software notation for all musical instruments. As previously disclosed in prior applications, individual notation systems have been developed by the author for every musical instrument throughout the globe. Each individual notation system is divided up into the following areas: String/Plucked Notation for the Harp 420a; Wind Notation I for the Tin Whistle 422a; Wind Notation II for the Clarinet 424a; Percussion Notation for Drum & Percussion Kits 426a; Vocal Chord Notation for the Human Voice 428. Embodiment is shown to indicate the several music notation systems for other musical instruments. The first within this drawing is the Harp in which the Numeric Value Indicator for Harp 420b; Reference for Right Hand Thumb 420c; Reference for Right Hand Thumb 42Od enable a user to notate exact note and finger configurations for playing notes on the Harp. The second music notation is for the Tin Whistle in which the Tin Whistle Note Holder 422b; Numeric Value Indicator for Tin Whistle 422c are used to liaise finger and note coordination to the user. Then follows the music notation for Clarinet in that the Clarinet Note Holder 424b; Numeric Value Indicator for Clarinet 424c show how by placing certain values upon the horizontal lines indicate Hand Coordination to play the notes on a Clarinet. These values are alpha characters which reference each finger of both hands that is, A=Left Hand Pinkie Finger; B=Left Hand Ring Finger; C=Middle Finger; D=Index Finger; E=Thumb and F= Right Hand Thumb; G=Index Finger; H=Middle Finger; I=Ring Finger and J=Pinkie Finger. The music notation representation for Percussion is then shown in which every horizontal line references a certain limb on the user. Therefore the Reference for Right Hand 426b; Reference for Left Hand 426c; Reference for Right Foot 426d; Reference for Left Foot 426e create a structure for to place values which register a specific part of a Percussion Drum Kit. This specific formation can alter whereby each horizontal line could represent alternate hands and feet of the user. The Numeric Value Indicator for Drums/Percussion 426f indicates to the user these exact parts of the Drum Kit whereby a limitless amount of drum kits could be registered and catalogued. Finally the Vocal Chord music notation is shown. The Vocals Note Holder 428b; Numeric Value Indicator for Vocal Chords 428c work in conjunction with each other identifying to the user what notes need to be created using the Vocal Chords. For example in the last bar the 46^th note (F4 note) is required to be sang with certain dynamics associated with its creation via the Dynamics Level Indicator 428d.

Also indicated is 430 which represents a Horizontal Line upon which numeric values are placed that correspond to the fundamental frequencies of a piano created by the human voice and its vocal ranges of Soprano, Mezzo-Soprano, Contralto, Tenor, Baritone and Bass 430, Area in which the Lyrics of music are indicated 432, Area in which the Sustain of the Human Vocal Range is indicated 434, Area in which the Dynamics of the Human Vocal Range are indicated 436 and additionally an Area in which the Tuning of the Human Vocal Range is indicated 438. Even though the author has only divided over forty individual musical instruments into specific categories, one can concur that there are hundreds of musical instruments throughout the world, along with musical instruments to be developed into the future. Each musical instrument has as its fundamental for creating a sound, individual specifications which will undoubtedly fall within the embodiment disclosed in the authors' N.G.M.N.F.. So in summary, every musical instrument that is available today and into the future will have a specific music notation system based on the fundamentals disclosed for categorized musical instruments. Every musical instrument that has been disclosed above creates a fundamental sound frequency from below 20Hz to 20,000Hz and beyond. All musical instruments create fundamental tones and because the classical piano is used as a generic source for the authors' N.G.M.N.F., it can be said that every musical instrument can be represented within a specific notation system around the ten categories created in the original design. Such that, it can also be said that the author can represent upon a custom Scorewriter both inside the system disclosed in this application, and also in systems disclosed in the authors' prior applications wherein, every musical instrument along with correct hand or other limb coordination and correct notes can be instantly liaised to a user. It can also be stated that as every notation system that has been developed by the author has as its core element, the concept of the visually impaired, each notation system will also cater for same, whether through the use of numeric values, alpha characters or Braille Characters. This also applies to concepts that will be developed for the hearing impaired and individuals with other disabilities. This leap into the future technology of musical instruments will enable people from around the world to begin playing a vast number of instruments in tandem with each other, such is the authors' uncomplex notation systems. No longer are there highly complex barriers preventing one from doing so.

FIGURE 1 ID shows a Hand Configuration Chart for Playing Notes on the Tin Whistle 422a and the Clarinet 424a. Displayed are: Reference for 1^st Uppermost Row of Holes on Tin Whistle 422d. Each line upon the Chart indicates a certain hole upon the Tin Whistle. As there are six holes on a Tin Whistle in order to create notes there are six horizontal lines. There follows the Reference for 3^rd Uppermost Row of Holes on Tin Whistle 422e and finally the Reference for 6^th Lowermost Row of Holes on Tin Whistle 422f. Accordingly a finger configuration chart can be constructed for the Tin Whistle. Numeric Values are then placed upon the Tin Whistle Note Holder 422b when one wishes to indicate a certain tone to be played on the Tin Whistle. Additionally in the drawing is the Hand Configuration Chart for the Clarinet. Numeric values as is the case with the Tin Whistle are placed upon the Clarinet Note Holder 424b which indicate a certain note to be played on the Clarinet. Each horizontal line references a specific Hole/Valve or Key upon the Clarinet. In order to create a note or tone on the Clarinet requires the user to cover/depress certain keys upon the Clarinet. The Finger Configuration is shown within the Chart to play the notes specified. In the Chart the Reference for 1^st Uppermost Row of Holes/Valves/Keys on Clarinet 424d is shown along with the Finger Configuration Locator for Clarinet 424e; Reference for 5^th Uppermost Row of Holes/Valves/Keys on Clarinet 424f; Reference for 8^th Uppermost Row of Holes/Valves/Keys on Clarinet 424g; Reference for 12^th Uppermost Row of Holes/Valves/Keys on Clarinet 424h; Reference for 16' Lowermost Row of Holes/Valves/Keys on Clarinet 424i; Reference for 18^th Lowermost Row of Holes/Valves/Keys on Clarinet 424j; Reference for 20^th Lowermost Row of Holes/Valves/Keys on Clarinet 424k.

An example of how each configuration reference works can be shown in the Finger Configuration for the last note that is, the 42" note. In order to create that note the user needs to cover/depress the 2^nd, 5^th and 6' Holes/ Keys/ Valves upon the Clarinet using the Left Hand Thumb (E); Left Hand Index Finger (D); and Left Hand Middle Finger. The Numeric Value Indicator for Clarinet 4241 indicates the tone that is created using such Finger Configurations in this case the 42^nd note. With the Reference for release of all Holes/Valves/Keys on Clarinet 424m this informs the user that no Hole/Valve or Key upon the Clarinet is to be depressed/covered in order to create the 47^th note (G4 note). The disclosure is mentioned of the fact that throughout all the authors' prior applications which include the present application, all music notation systems are interchangeable between each other, permitting how each could evolve into other embodiment and representations. This means that each notation system and all parts of their embodiment can be integrated which for example, could permit parts of one notation system to become part of another notation system. This also includes how chords, scales and arpeggios are represented and notated. Thus there is an unlimited scale as to best represent a musical instrument which also includes the vocal chords. So what could occur is that Chord, Scale, Arpeggio structure formulae can appear alongside finger coordinated structures and vice versa.

FIGURE 12 shows how the new generation music notation system can be altered to include various embodiment disclosed in the author's prior applications. For example: in this particular illustration the Chord Configuration Structure 436j is shown indicating the exact note and finger coordination to play a specific chord within the piece of music. In the illustration 434 the following is outlined: 436a indicates how each finger of the left hand is represented; 436b indicates how each finger of the right hand is represented; 436c indicates the mood of the piece while 436d is the tempo of the piece measured in beats per minute (bpm). Additionally, 436e indicates the Anubis Grid disclosed in prior application in how the beats of a specific bar are represented instead of using the eight conventional note values of music; 436f indicates the 42^nd note on the piano played with the Right Hand Thumb; 436g indicates a Tie whereby the notes are played in a flowing sequence; 436h indicates the 33 ^rd note is played with the Left Hand Ring Finger. 436j is integrating the aforementioned Chord Configuration Structure into the Scorewriter/DAW interface. In this example the chord structure 436j is informing the user to play the 55^th note on the piano with the Right Hand Ring Finger 436i.

FIGURE 13A analyses the prior Chord/Scale/ Arpeggio Configuration System (C.S.A.C.S.) for Piano (Chords) 444a disclosed by the author in an earlier application and transfers the method over to another musical instrument to show the methods' adaptability to other musical instruments. In the drawing the embodiment from a block chart of the authors' prior application (448b, 448c, 448d and 448e) is displayed, along with an additional alpha character designation of 'P' 448a to represent a Piano. This informs the user that the block chart shown only applies to a Piano or keyboard instrument. Additionally a saxophone could be indicated with alpha characters 'SX' or a Trombone could be indicated with 'TME'. These block charts for Chords, Scales & Arpeggios will be applicable to all musical instruments. For easy reference to the examiner from prior application embodiment 448b indicates Root Indicator for C.S.A.C.S.; 448c indicates Mode Indicator for C.S.A.C.S. (C=Chords); 448d indicates Logic Formula Indicator for C.S.A.C.S. and 448e indicates Inversion Value Indicator for C.S.A.C.S.

FIGURE 13B discloses the authors' prior art as above for easy reference to the examiner. In this case 444b is for Piano (Scales). 450b indicates Root Indicator for C.S.A.C.S.; 450c indicates Mode Indicator for C.S.A.C.S. (S=Scales); 45Od indicates Logic Formula Indicator for C.S.A.C.S. and 45Oe indicates Inversion Value Indicator for C.S.A.C.S.

FIGURE 13C again discloses the authors' prior art as above for easy reference to the examiner. In this case 444c is for Piano (Arpeggios). 452b indicates Root Indicator for C.S.A.C.S.; 452c indicates Mode Indicator for C.S.A.C.S. (A=Arpeggios); 452d indicates Logic Formula Indicator for C.S.A.C.S. and 452e indicates Inversion Value Indicator for C.S.A.C.S.

FIGURE 13D again discloses the authors' prior art as above for easy reference to the examiner. In this case 460a contains a formula for Right Hand Piano (Chords) and 460b contains a formula for Left Hand Piano (Chords). 460c references the Right Hand Configuration to play specific chords (F, G, H, I and J are R/H Thumb, Index, Middle, Ring and Pinkie Finger respectively) while 46Od references the Left Hand to play specific chords (A, B, C, D and E are L/H Pinkie Finger, Ring, Middle, Index and Thumb respectively). 46Oe informs user to depress the 47^th key on the piano/keyboard with the Right Hand Pinkie Finger while 46Of informs user to depress the 47^th Key on the piano/keyboard with the Left Hand Thumb.

FIGURE 13E again discloses the authors' prior art as above for easy reference to the examiner. In this case 462a contains a formula for Right Hand Piano (Scales) and 462b contains a formula for Left Hand Piano (Scales). 462c references the Right Hand Configuration to play a specific scale (F, G, H, I and J are R/H Thumb, Index, Middle, Ring and Pinkie Finger respectively) while 462d references the Left Hand to play specific scales (A, B, C, D and E are L/H Pinkie Finger, Ring, Middle, Index and Thumb respectively). 462e informs user to depress the 52" key on the piano/keyboard with the Right Hand Pinkie Finger while 462f informs user to depress the 52^nd Key on the piano/keyboard with the Left Hand Thumb.

FIGURE 14A shows how the formula and embodiment of the authors' prior Chord/Scale/ Arpeggio Configuration System (C.S.A.C.S.) for Piano (Chords) transfers over to the Guitar or other String Instrument. For specifics the following is outlined:

• 446a references a Block Chord Chart for the Guitar

• 454a uses an alpha character of 'G' to reference the block chart is applicable to a Guitar.

• 454b is a Root Indicator for C.S.A.C.S. in Guitar. This means all the fundamental keys of a piano can become a root of any guitar chord. Using the piano keys as a base-notes on a guitar go from twenty up to sixty-six on a conventional six string guitar (E2 up to D6). Example: the root displayed in the block chart 454b is forty which would indicate the 40^th note on the Guitar. Further indicators will determine upon which string the root note will apply. This is because the 40' note on a piano is playable on the 20 fret of the Low E String; the 15^l fret on the A String; the 9^th fret on the D String; the 5^th fret on the G String; and the 1^st fret on the B String.

• 454c indicates Mode Indicator for C.S.A.C.S. (C=Chords). So from this using an alpha character of 'S' would indicate Scales, while 'A' would indicate an Arpeggio.

• 454d is the Logic Formula Indicator for C.S.A.C.S. Using TABLE A as disclosed in the authors prior art this same Table can be used for the Guitar. Therein follows a list of forty-nine different Chords from Major, Minor all the way up to (Major 9 Sus 4). By assigning a numeric value to each type of chord creates an uncomplex structure for playing a myriad of varied chords. In the example the value 'one' is shown, so this would lead the user that this particular block chart references how to play a C Major Chord.

• 454e indicates Inversion Value Indicator for C.S.A.C.S. Chords can be played within a variety of inversions. This means using the fundamental notes of a certain chord it can be played inverted many times. By assigning an integer value to each inversion creates an uncomplex structure to develop inverted chord conversions.

So in summary the block chart indicates whether its for a Guitar or Piano or other musical instrument by the first alpha character 454a; what fundamental root note is being used to create the chord 454b; whether it's a chord, scale or arpeggio 454c; whether it's a Major, Minor or other Chord 454d and what inversion the chord is to be played in 454e.

FIGURE 14B the same embodiment disclosed in FIGURE 9 A applies here also except the Block Chart is referencing a Scale Block Chart. So in summary the block chart indicates whether its for a Guitar or Piano or other musical instrument by the first alpha character 456a; what fundamental root note is being used to create the scale 456b; whether it's a chord, scale or arpeggio 456c; whether it's a Major, Minor or other Scale 456d and what inversion the scale is to be played in 456e.

FIGURE 14C uses the same embodiment disclosed in FIGURE 9A applies here also except the Block Chart is referencing an Arpeggio Block Chart. So in summary the block chart indicates whether its for a Guitar or Piano or other musical instrument by the first alpha character 458a; what fundamental root note is being used to create the arpeggio 458b; whether it's a chord, scale or arpeggio 458c; whether it's a Major, Minor or other Arpeggio 458d and what inversion the arpeggio is to be played in 458e.

FIGURE 14D discloses how the authors' prior art system for Piano transfers to Guitar of which was reviewed in Figure 13D. In this case 464a contains a formula for Guitar (Chords) using conventional fret values (one thru twelve or fourteen) and 464b contains a new generation formula for Guitar (Chords) using specific numeric values which match the keys on a piano or keyboard. For specifics the following is outlined:

• 464c references String Coordination for playing a specific Guitar Chord. In the example: the notes for a C Guitar Chord are shown. Each box within the Block Chart represents a certain string of the Guitar that is; Low E String; A String; D String; G String; B String and High E String. According to the box the numeric values are placed in determines which string is being played.

• 464d indicates the Finger Coordination to play the note on the Guitar. If one uses the alpha characters A thru E for the Left Hand and F thru J for Left Handed guitarists an uncomplex block chord chart can be created. In the C Chord shown it is telling the user to use (B)=LZH ring finger; (A)= Pinkie Finger; (C)= Middle Finger; on the G string no finger is used thus an open string; (D)=Index Finger and on the High E string no finger is used thus an open string is played.

• 464e is telling the user to play the open High E String. If this were not the case and the chord did not require a certain open or closed string to be played an 'X' would appear within the block chart boxes. So if this value were substituted with an X this open High E String would not be played while the user plays the chord.

• 464f is informing the user to play the 40^th note (1^st fret) upon the B String of the Guitar with the Index Finger of the Left Hand. Within 464d if this block chord chart were being created for a Left Handed Guitarist all one would be required to do is alter the alpha character to one of the alpha characters from F thru J.

• 464g is informing the user to play the 28^th note (3^rd fret) upon the A String of the Guitar with the Pinkie Finger of the Left Hand. By placing a circle indicator around the value informs the user that this particular note 'C3' is a natural note of the guitar rather than a sharp or flat note (un-natural notes).

In summary within Figure 14D the user is being given the components or embodiment to play a C Guitar Chord. For specifics going through the block chart: The L/H Ring Finger is holding down the 23^rd note (3^rd Fret) of the Low E String; the Pinkie Finger is holding down the 28^th note (3^rd fret) of the A String; the Middle Finger is holding down the 32^nd note (2^nd fret) of the D String; the open G String is played; the Index Finger is holding down the 40^th note (1^st fret) of the B String and finally the High E string is played open. Thus one can concur a representation to play a C Guitar Chord. A Left Hand Guitarist Block Chart would involve the following process: The R/H Ring Finger (I) would hold down the 23^rd note (3^rd Fret) of the Low E String; the R/H Pinkie Finger (J) would hold down the 28* note (3^rd fret) of the A String; the R/H Middle Finger (H) would hold down the 32^nd note (2^nd fret) of the D String; the open G String is played; the R/H Index Finger (G) would hold down the 40* note (1^st fret) of the B String and finally the High E string is played open. By simply altering the alpha characters for finger coordination would permit a block chart for a Left Handed Guitarist.

FIGURE 14E discloses how the authors' prior art system for Piano transfers to Guitar of which was reviewed in Figure 13E. In this case 466a contains a formula for Guitar (Scales) using conventional fret values (one thru twenty-two or twenty-four) and 466b contains a new generation formula for Guitar (Scales) using specific numeric values which match the keys on a piano or keyboard. For specifics the following is outlined:

• 466c references Finger Coordination for playing a specific Guitar Scale. In the example: the notes for a Major C Guitar Scale are shown. Each box within the Block Chart represents a certain note of the scale that is and an alpha character informs user which fingers to use to play these notes. The sequence from the Figure 9E is giving the following finger coordination; open Low E String; R/H Index Finger (D); Pinkie Finger (A); open A String; Middle Finger (C); Ring Finger (B); open D String; Middle Finger (C); Pinkie Finger (A); open G String; Middle Finger (C); open B String; Index Finger (D); Pinkie Finger (A); open High E String; Index Finger (D) and finally Pinkie Finger (A).

• 466d indicates the Finger Coordination to play the note on the Guitar. If one uses the alpha characters A thru E for the Left Hand and F thru J for Left Handed guitarists an uncomplex block scale chart can be created. So in essence what could occur is that the Right Handed Guitarist Finger Configuration could be on top 466c and a Left Handed Guitarist Finger Configuration could be below 466d.

• 466e is telling the user to play the 3^rd Fret of the High E String. If this were not the case and the chord did not require a certain open or closed string to be played an 'X' would appear within the block chart boxes. So if this value were substituted with an X the High E String would not be played while the user plays the scale. However, all the notes that appear in a block scale chart are to be played.

• 466f is informing the user to play the 47* note (3^rd fret) upon the High E String of the Guitar with the Pinkie Finger of the Left Hand.

• 466g is informing the user to play the 28* note (3^rd fret) upon the A String of the Guitar with the Ring Finger of the Left Hand.

• 466h is informing the user to play the open G String.

• 466i aids the user to see the specific string that is being played within the block scale chart. An integer number from one thru six or seven is assigned to each string of a conventional six string or seven string or higher guitar respectively. In the example an integer value of 'four' or ⁴ is shown. This would mean the open G String is played during the scale. Using the following sequence of integer values each string is assigned a value: '= Low E String; ²=A String; ³=D String; 4=G String; ⁵=B String and ⁶=High E String.

In summary within Figure 14E the user is being given the components or embodiment to play a C Major Guitar Scale. For specifics going through the block chart: play open Low E String; play 20* note (1^st fret) of Low E String with L/H Index Finger; play 23^rd note (3^rd fret) of Low E String with Pinkie Finger; play open A String; play 27^th note (2^nd fret) of A String with Middle Finger; play 28^th note (3^rd fret) of A String with Ring Finger; play open D String; play 32^nd note (2^nd fret) of D String with Middle Finger; play 33 note (3^rd fret) of D String with Pinkie Finger; play open G String; play 37^th note (2^nd fret) of G String with Middle Finger; play open B String; play 40^th note (1^st fret) of B String with Index Finger; play 42^nd note (3^rd fret) with Pinkie Finger; play open High E String; play 45^th note (1^st fret) of High E String with Index Finger and finally play 47^th note (3^rd fret) with Pinkie Finger.

FIGURE 14F is a C Major Scale played higher up the fretboard. In this case there are no open strings played on the guitar. In summary, play 30^th note (10^th fret) of Low E String with L/H Index Finger; play 32^nd note (12^th fret) with Middle Finger; play 33^rd note (13^th fret) with Ring Finger; play 35^th note (10^th fret) of A String with Index Finger; play 37th note (12^th fret) of A string with Ring Finger; play 39th note (9^th fret) of D String with Index Finger; play 40^th note (10^th fret) of D string with Middle Finger; play 42^nd note (12^th fret) of D String with Pinkie Finger; play 44th note (9^th fret) of G String with Index Finger; play 45^th note (10^th fret) of G String with Middle Finger; play 47^th note (12^th fret) of G String with Pinkie Finger; play 49^th note (10^th fret) of B String with Index Finger; play 51^st note (12^th fret) of B String with Middle Finger; play 52^nd note (13^th fret) with Ring Finger; play 54^th note (10^th fret) of High E String with Index Finger; play 56^th note (12^th fret) of High E String with Middle Finger and finally play 57^th note (13^th fret) of High E String with Ring Finger. 468i is merely informing the user that this scale will begin on the 10' fret, but is not necessary.

FIGURE 14G is a system of displaying Tapping Sequences to be played on the Guitar. 470a thru 47Of each identify a specific string of the Guitar that is, Low E String, A string, D String, G String, B String and High E String respectively. 47Og is merely indicating the Root of each tapping sequence. Taking the formula EH56T¹ is indicating EH=High E String; '56'= indicates the 56^th note; T=Tap Sequence and integer ^{ς 1}' indicates the type of Tapping Sequence that is being played. Thus 'EL'=Low E String, 'A'=A String, 'D'=D String, 'G'=G String, 'B'=B String and 'EH'= High E String. For example using the root of 'fifty-six' here, hundreds of varied tapping sequences could be developed around this root note. Accordingly, as this is done an integer value is associated with it, thus a user has an uncomplex structure for learning tapping sequences on the guitar. 47Oh indicates the 32ⁿ note on the Low E String of the guitar, while 47Oi informs the user that this note is to be tapped by an opposite hand finger in this case the Right Hand Index Finger identified by a Η'. 47Oj is a finger coordination structure to assign alpha characters associated with the fingers of the hand to a certain tapping sequence. These values as aforementioned cover both hands fingers utilizing alpha characters A thru J. 470k is divider between the new generation numeric value representation and the general reference for frets using numeric values (from one thru to twenty-two or twenty-four). 4701 is informing the user to depress in general reference the 12^th fret of the High E String with the Index Finger of the Right Hand. A summary of this process according to each string is as follows. This Tapping Sequence exercise is to be played in subsequent order from the Low E String up to the High E String:

1) EH56T¹: tap 32^nd note (12^th fret) of Low E String with R/H Index Finger; play 25^th note (5^th fret) of Low E String with L/H Index Finger; play 28^th note (8^th fret) of Low E String with Pinkie Finger. The exercise is repeated once and subsequent to this the sequence is finished on the Low E String.

2) A37T¹: tap 37^th note (12^th fret) of A String with R/H Index Finger; play 30^th note (5^th fret) ofA String with L/H Index Finger; play 33^rd note (8^th fret) of A String with Pinkie Finger. The exercise is repeated once and subsequent to this the sequence is finished on the A String.

3) D42T ' : tap 42^nd note ( 12^th fret) of D String with R/H Index Finger; play 35^th note (5^th fret) ofD String with L/H Index Finger; play 38^th note (8^th fret) of D String with Pinkie Finger. The exercise is repeated once and subsequent to this the sequence is finished on the D String.

4) G47T¹ : tap 47^th note ( 12^th fret) of G String with R/H Index Finger; play 40^th note (5^th fret) of G String with L/H Index Finger; play 43^rd note (8^th fret) of G String with Pinkie Finger. The exercise is repeated once and subsequent to this the sequence is finished on the G String.

5) B5 IT¹ : tap 51^st note (12^th fret) of B String with R/H Index Finger; play 44^th note (5^th fret) ofB String with L/H Index Finger; play 47^th note (8^th fret) of B String with Pinkie Finger. The exercise is repeated once and subsequent to this the sequence is finished on the B String.

6) EH56T¹: tap 56^th note (12^th fret) of the High E String with R/H Index Finger; play 49^th note (5^th fret) of High E String with L/H Index Finger; play 52^nd note (8^th fret) of High E String with Pinkie Finger. The exercise is repeated once and subsequent to this the sequence is finished on the High E String.

FIGURE 14H is another view of the system for displaying Tapping Sequences to be played on the Guitar. In the drawing the reference 'EH56T¹' 472a and 472b indicates this block chart will display a tapping sequence that begins on the 49^th note (5^th fret) 472c of the High E String. 472a references the new generation block chart, while 472b references the general fret value block chart. For specifics each value represents the following:

• 472a indicates a formula for a tapping sequence that begins on the 49^th note of the High E String using numeric values as is the new generation music notation system.

• 472b indicates a formula for a tapping sequence that begins on the 5^th fret of the High E String using numbers for the frets as is the general reference for notes using tablature.

• 472c informs the user to play the 49^th note of the High E String with the L/H Index Finger.

• 472d informs the user to play the 5^th fret of the High E String with the L/H Index Finger.

• 472e is the Finger Coordination for playing any Tapping Sequence using alpha characters from A thru J that are assigned to each finger of each hand.

• 472f informs the user to play the 8^th fret upon the High E String with the Ring Finger of the Left Hand.

• 472g is a tapping indicator for playing frets using an opposite finger: wherein the example is showing the user must use their Right Hand Index Finger to play the 56^th note (12^th fret) of the High E String.

• 472h is a PullOff Indicator which informs the user that they must use a pull- off technique when they play this note. In other words, after playing the 49' note (5^th fret) of the High E String with the L/H Index Finger they use this same finger to pull off from the string to create the last tone which is the open High E String.

So in summary the block chart is aiding the user to play the following sequence upon the High E String of the Guitar: play the 49^th note (5^th fret) with the L/H Index Finger; play the 52^nd note (8^th fret) with the Ring Finger; tap the 56^th note (12^th fret) with the R/H Index Finger; play the 52^nd note (8^th fret) with the L/H Ring Finger; play the 49^th note (5^th fret) with the Index Finger; tap the 56^th note (12^th fret) with the R/H Index Finger; play the 52^nd note (8^th fret) with the L/H Ring Finger; play the 49^th note (5^th fret) with the Index Finger and then use pulloff technique to play the open High E String. In all the above Figure drawings 14A thru to 14H it is obvious that each component could be manipulated using an opposite effect. In Figure 14D as an example 464e could indicate the Low E String of the Guitar, rather than the High E String.

FIGURE 15 like Figure 12 shows how the new generation music notation system can be altered to include various embodiment disclosed in the author's prior applications. In this illustration it is being represented for a Guitar or other String Instrument 480. 482a indicates each string of the guitar with the top line representing the Low E String and the bottom line representing the High E String. 482b indicates what the Right Hand could be operating in other words within this piece both hands are playing the fretboard of the guitar. 482c indicates the Right Hand Index Finger; 482d indicates the 47^th note on the Guitar situated on the High E String. Additionally, 482e shows how the notes are to be played in a flowing movement; 482f indicating the Left Hand Ring Finger while 482g indicates the 50^th note on the Guitar situated on the High e String of the Guitar. 482j is integrating the aforementioned Chord Configuration Structure into the Scorewriter/DAW interface. In this example the chord structure 482j is informing the user to play the 48^th note on the High E String of the guitar 482i with the Right Hand Ring Finger Right Hand Index Finger.

FIGURE 16 illustrates how conventional music notation systems (either in print, electronic or other formats) can be transformed into the new generation music notation fingerprint design. 490a shows a conventional piece of music; 490b shows its integration into the Scorewriter/DAW system; 490c shows the manipulation process for organizing respective finger configuration to play the music while 49Od shows the end result with all note and finger coordination clearly visible upon the piece of music utilizing the new system. 494a indicates in conventional terms the F3 note. At point 492a the music in its conventional form irrespective of format is uploaded into the Scorewriter/DAW system via 492a process. At this point new lookup menus 494b for finger configuration (A thru J) are associated with each note on the piece permitting the user to input or select the correct finger to play specific note at point 492c. Subsequent to all notes being associated with a specific finger the Scorewriter/DAW performs the final task 492c calculating all the information and displaying the data 494d in a new form upon the interface. This particular form enables the system to then output unique electronic data to operate connected customized finger configuration devices or customized music instruments.

FIGURE 17A is a representation of the conventional music notation system 500 for the Hungarian Rhapsody No.2. It shows clearly more than any other piece in music the difficulty involved in learning conventional music notation. Within the piece each note is associated with a key signature and articulation of music like Flats/Naturals/Sharps aswell as the 8va symbol above the piece that alters the octave of the entire piece. In essence conventional sheet music notation is a myriad of mathematical and geometrical formula that takes anywhere up to 12 years to master due to its high level of complexity.

FIGURE 17B illustrates the absolute genius involved in this new generation music notation system making it to the exclusion of all others in past millennia. Within less than 2 seconds a person with no prior knowledge of conventional sheet music notation, will be able to play every note with correct finger coordination from the piece 502. So in essence consumers will now have a choice throughout the world to either learn a conventional system near 1000 years old (that takes 2.7 years to decipher and understand) or a new alternative that only requires only a few minutes.

Additional Information

The author's new generation music notation system can be divided into three unique steps, creating novelty to instantly play, compose and notate upon any musical instrument without ever learning Standard Sheet Music. These three steps are interwoven into all the author's prior applications and are summarized as follows:

Step One

The System uses a set of numeric values from 1 thru to 88 to represent each key on the piano and uses this fundamental across all musical instruments. In other words the piano is the fundamental instrument in music, in which all other musical instruments fall within its range. Example: Violin's range is within the piano; Clarinet's range is within the piano. Even though society has known since the conception of the piano in the 17th Century that there are 88 keys on a piano {as such time it became common for piano manufacturers to build pianos with 88 keys, used to be lesser amount of keys}, it has never been contemplated in any time in history to use this basic principle to represent all musical instruments.

For example: a shorter keyboard with 61 keys is labeled from 16 thru to 76 while a 76 key piano is labeled from 8 thru to 83. The 61 key is not numbered between 1 thru to 61 and 1 thru to 76 respectively. However, the uniqueness comes into play when applied to all other instruments. For example: a guitar will now have a range of between 15 thru to 68 instead of each string being referenced from 1 thru to 22 (amount of frets on guitar). Xylophone will have a range from 35 thru to 64; Clarinet will now have a range from 32 thru to 71 etc. So each instrument in essence is taking a set of specific numbers from the piano to represent a specific frequency on the instrument and this never changes, irrespective of what frequency. Each frequency of the piano keys becomes an individual entity when referenced to all other instruments. Even instruments not yet built can be represented, as the piano is the fundamental of all musical instruments. By taking conventional theory into the equation the following of which is fundamental to learning any musical instrument has been made void in its entirety by the author's new invention.

Conventional Music Notation System evolved into a minimum of 2.7 years tuition to understand. Some of these basic rudiments are: How 12 notes A thru to G need to represent 88 notes on a piano. Of those 12 notes-the naturals A-G are only placed on the stave. Then there are Naturals, Sharps, Flats, Double Flats Double Sharps, 16 key signatures. Additionally you then have Tempo that is, crotchets, quavers etc and Rests. Bass/Treble Clef lines & spaces are assigned rhymes to instill in memory note names in students for example: Every Good Boy Deserves Favor. Leger Lines below and above both Clefs, Bass Clef switching this formula when it appears on the Treble Clef and vice versa, 8va signs alternating the formula repeatedly, not to mention finger coordination of which is relayed under expensive tuition. Standard Music Notation was evolved my brilliant mathematicians, hence why Standard Sheet music has its fundamentals in geometry and mathematics. This is why it takes so long for any person to learn it and why so few around today can understand it. Step Two

The second step has each of the ten fundamental lines of the stave reference a specific limb (finger or toe) of a person, whereby if a person is without a certain finger or toe the line referencing that limb is removed, so the person can still play the instrument. Conventionally these ten lines and spaces represent all the natural keys of the piano while leger lines above and below the ten lines cater for natural keys above and below the area on which they represent on the instrument. The Sharps, Naturals, Flat symbols are then applied to indicate the black notes on the instrument.

Step Three

The third step fuses the other two steps which is totally unique in any time in history. Even though it has been known that a piano has 88 keys, when these specific set of numbers from 1 thru to 88 are placed upon any of the ten lines this is indeed novel. The amalgamation of the two earlier steps creates a unique hand coordination structure to play music irrespective of how complex the music is, thereby allowing any person to instantly play, compose and notate any level of music on piano without ever learning Standard Sheet Music or going to music teachers. When the structures for all other musical instruments are introduced and fused they again enable any person to instantly play, compose and notate any level of music without ever learning Standard Sheet Music or going to music teachers.

In brief the following is applicable to the invention and its fundamental concept.

^■ Novelty of each of the ten lines indicating a specific finger of the limb of a person whether hand or foot and

^■ Novelty of placing a set of numbers between 1 and 88 on these specific lines and then using this concept to create structures for all other musical instruments.

The concept throughout the author's prior applications also take into account all other conventional, alternative and alpha & numerical systems including symbol represented Eastern music systems, whereby to negate the ingenious of the system one could place there representations on these lines, thereby bypassing the values of 1 thru to 88. So it must be stated that the novelty is particularly embed in how each horizontal or vertical line identifies with a limb on a person whether it be a finger or toe. Particular research on notation systems and its history can be found at: en.wikipedia.org/wiki/Music_notation and in particular detail at: www.music- notation.info/en/compmus/musicnotation.html .

To illustrate the ingenious of the system and it's positive and far reaching effects Figure 8A and Figure 8B display an excerpt from the famous Hungarian Rhapsody No.2 composed by Franz Liszt. Detail on the complexities of Standard Sheet music version can be analyzed from: www.musicnotation.org/tutorials/keysignatures.html Using the author's invention any individual can now instantly within two seconds (without any musical experience) relay what note and what finger is required to play the piece, which is quite remarkable. This piece of music conventionally requires 2.7 years to understand and any degree professional will find it virtually impossible to relay such information within two seconds. As aforementioned in prior application the author's invention has its roots set within the concept of the blind, hence why it has never been contemplated before. CONCLUSION

Following is a listing of the components used in the best mode preferred embodiment and the alternate embodiments for use with OEM as well as retrofit markets. For the ready reference of the reader the reference numerals have been arranged in ascending numerical order.

2 = User

4 = Customized Finger Configuration Devices

6 = Customized Music Instrument

8 = Data Analyzer/Converter

10 = Scorewriter/Digital Audio Workstation Interface

50 = Finger Configuration Electronic Data

52 = Performance Generator

54 = Tone Generator

56 = Music Instrument Electronic Data

58 = Compiler

60 = New Generation MIDI File Format

70 = MIDI Signal Recognition Data

72 = Optical Character Recognition Data

74 = Speech Recognition Data

80 = Microphone

100a = Left Hand Index Finger

100b = Right Hand Index Finger

102 = Hand Configuration LED Device (H.C.L.D.)

104 = Hand Configuration Sensory Device (H.C.S.D.)

106a = Left Hand

106b = Right Hand

108 = Signal Flow Data transmitted to and from the H.C.L.D.

110 = Alpha Character Indicator for H.C.S.D.

1 12 = Signal Flow Data transmitted to and from the H.C.S.D.

114 = Sensory Mechanism of the H.C.S.D

1 16 = Signal Flow I/O of Hand Configuration Devices

1 18 = Alpha Character Indicator for Hand Configuration Devices

120a = Light Emitting Diode without glove covering for the pinkie finger of the Left Hand

120b = Light Emitting Diode without glove covering for the ring finger of the Left Hand

120c = Light Emitting Diode without glove covering for the middle finger of the Left Hand

12Od = Light Emitting Diode without glove covering for the index finger of the Left Hand

12Oe = Light Emitting Diode without glove covering for the thumb finger of the Left Hand

12Of = Light Emitting Diode without glove covering for the thumb finger of the Right Hand

12Og = Light Emitting Diode without glove covering for the index finger of the Right Hand

12Oh = Light Emitting Diode without glove covering for the middle finger of the Right Hand

12Oi = Light Emitting Diode without glove covering for the ring finger of the Right Hand 12Oj = Light Emitting Diode without glove covering for the pinkie finger of the Right Hand

122 = Signal Flow between Hand Configuration Devices

150a = 41st Key of the Customized Piano (88 Note Length)

152a = Middle C Indicator for Piano (88 Note Length)

150b = 41 st Key of the Customized Piano (76 Note Length)

152b = Middle C Indicator for Piano (76 Note Length)

150c = 41 st Key of the Customized Piano (61 Note Length)

152c = Middle C Indicator for Piano (61 Note Length)

250 = Customized Piano/Keyboard Version I

252 = Customized Piano/Keyboard Version II

254 = Customized Guitar Version I

256 = Customized Conventional Guitar Version II

258 = Customized Non-Artificial Drum Kit

260 = Customized Artificial Electronic Drum Kit

262 = Human Vocal Chords

280a = Key Mechanism of Piano Version I

280b = Signal Flow for Piano Version I from 280a

282a = Key Mechanism Piano Version II

282b = Signal Flow for Piano Version II from 282a

284a = New Generation Tremolo Mechanism for Guitar

284b = String Gauge Mechanism for Guitar

284c = Customized New Generation Guitar. The mechanisms 284d, 284e and 284f mentioned can be integrated into a conventional Guitar fretboard if required. For example: some manufacturers are able to supply a service for converting Conventional Drum Kits into Electronic Drum Kits by adding sensors. The same could apply here under license by the author. Additionally the New Generation Tremolo Mechanism can be integrated into a conventional guitar or not. Many customized options for each mechanism. That is, a vast selections of Conventional Musical Instruments could be converted into the authors' design under license, by merely installing the new generation mechanisms into the instrument.

284d = Individual Fret Sensory Mechanism Type I (Input)

284e = Individual Fret Sensory Mechanism Type II (Input/Output)

284f = Individual Fret Sensory LED Learning Mechanism Type III (Input/Output)

286a = Customized Conventional Guitar. The mechanisms 284d, 284e and 284f mentioned can be integrated into a conventional Guitar fretboard if required. For example: some manufacturers are able to supply a service for converting Conventional Drum Kits into Electronic Drum Kits by adding sensors. The same could apply here under license by the author. Additionally the New Generation Tremolo Mechanism can be integrated into a conventional guitar or not. Many customized options for each mechanism. That is, a vast selections of Conventional Musical Instruments could be converted into the authors' design under license, by merely installing the new generation mechanisms into the instrument.

286b = High E String of the Guitar

286c = D String of the Guitar

300a = Signal Flow for Guitar from 284b

300b = Signal Flow for Guitar from Type 1 284d

300c = Signal Flow for Guitar from Type II 284e

300d = Signal Flow for Guitar from Type III 284f 302 = Finger Configuration Indicator Type I (in this example indicating the middle finger of the left hand (C)

304a = Tremolo Arm

304b = Button Controller (Low E String)

304c = Button Controller (A String)

304d = Button Controller (D String)

304e = Button Controller (G String)

304f = Button Controller (B String)

304g = Button Controller (High E String)

304h = Optional String/Fundamental Tone Tuner for all Strings. Permits the user to fine tune the string of the guitar, in this case the D String.

306 = Signal Flow for Guitar from 284a

308a = String Controller (Lower Fundamental Tone)

308b = String Controller (Pluck Fundamental Tone)

308c = String Controller (Raise Fundamental Tone)

308d = String Controller (Lower Fundamental Tone)

308e = String Controller (Pluck Fundamental Tone)

308f = String Controller (Raise Fundamental Tone)

300d = Signal Flow for Guitar from Type III 284f

314a = Low E String of the Guitar

314b = 5th fret of the High E String of a Guitar which is represented by a numeric value of five (fret) or forty nine utilizing the {N.G.M.N.F.} .

316a = Indicates utilizing LEDs to inform the musician or user of when to depress a specific fret on the guitar. Can be controlled via the user or thru the program software of the V.I.S.S. In this instance the numeric value of twenty-one (F2) is shown. Can be of varied colors (background/foreground) to ensure the musician or user can see the numeric value clearly. It can also utilize the Color Note Value Designation Formula (C.N.V.D.F.) described within US Application Number: 11/934,259 in which specific colors represent the rhythm of music ( eight note values of conventional music). It can also utilize the Finger Color Designation Formula (F.C.D.F.) which assigns one often colors to each finger of the hand and this color emits a light to guide the finger coordination of the user. Finger configurations colors are left hand fingers represented as Blue=pinkie finger, Brown=ring finger, Black=middle finger, Red=index finger, Orange=thumb and right hand fingers are represented as Green=thumb, Purple=index finger, Pink=middle finger, Yellow=ring finger and White=pinkie finger.

316b = On/Off Fret Indicator informs the user when to depress the fret (on) and when to release their finger off the fret (off).

316c = Optional Extra Indicator allows other information like Hammer ons, Tapping techniques to be transmitted via a light emitting diode.

316d = Finger Configuration Indicator Type II indicates the Thumb of the Left Hand. Alternatively, it could indicate the Pinkie Finger of the Right Hand for a Left Handed musician. When this indicator emits light it informs the user that to play the specific fret they must use the thumb of the Left Hand.

316e = Finger Configuration Indicator Type II indicates the Index Finger of the Left Hand. Alternatively, it could indicate the Ring Finger of the Right Hand for a Left Handed musician.

316f = Finger Configuration Indicator Type II indicates the Middle Finger of the Left Hand. Alternatively, it could indicate the Middle Finger of the Right Hand for a Left Handed musician. 316g = Finger Configuration Indicator Type II indicates the Ring Finger of the Left Hand. Alternatively, it could indicate the Index Finger of the Right Hand for a Left Handed musician.

316h = Finger Configuration Indicator Type II indicates the Pinkie Finger of the Left Hand. Alternatively, it could indicate the Thumb of the Right Hand for a Left Handed musician.

316i = Plec Non-Use Indicator informs the user when it emits a light that the specific fret is to be played without a Plec.

316j = String Movement Indicator informs the user the direction into which the string is to be plucked or played with a plec. When it emits a light, it indicates the user is to pluck the string toward their body. No light emission informs the user the string is to be plucked away from the body. The indicator could also be divided in two with an arrow each end, with each end determining the direction to play the string.

318 = Metal Strips that separate the Frets of a Guitar. When you depress the string upon the fingerboard down between these metal strips and pluck or strum it, you get a tone.

400 = Conventional Notation Representation of the first 8 Bars of "La donna e mobile" by Giuseppe Verdi's opera 'Rigoletto'.

402 = Full Representation of a variety of Musical Instruments for the first 8 Bars of "La donna e mobile" by Giuseppe Verdi's opera 'Rigoletto' .

404 = Divisional gap between each notation representation

406a = First 8 Bars of "La donna e mobile" by Giuseppe Verdi's opera 'Rigoletto' for Piano.

406b = References the 42^nd note on Piano played with the Right Hand Index Finger.

406c = References the Right Hand Pinkie Finger.

406d = References the Right Hand Thumb.

408a = First 8 Bars of "La donna e mobile" by Giuseppe Verdi's opera 'Rigoletto' for the Digital Organ.

408b = References the 42^nd note on Digital Organ played with the Right Hand Index Finger.

408c = References the Right Hand Pinkie Finger.

408d = References the Right Hand Thumb.

408e = References the user is to depress the B5 Foot Pedal (E Notes Pedal) at the same time that they play the 32^nd note from the lower keyboard of the Digital Organ.

410a = First 8 Bars of "La donna e mobile" by Giuseppe Verdi's opera 'Rigoletto' for the Xylophone.

41 Ob = Indicates the user is to use their Right Hand to play this specific note. A=Left Hand and B=Right Hand. The note to play is the 42^nd note on the Xylophone.

41 Oc = References the Upper Row of the Xylophone.

41 Od = References the Lower Row of the Xylophone.

41 Oe = References the 49^th note on the Xylophone.

412a = First 8 Bars of "La donna e mobile" by Giuseppe Verdi's opera 'Rigoletto' for the Dulcimer.

412b = References the 3^rd set of Strings of the Dulcimer. The notes played on this set of strings are C6; F5 and Bflat4 Notes.

412c = Indicates to the user to play the Right Hand Section of the Dulcimer with the Right Hand Dulcimer Hammer upon the 8^th set of Strings. This will create a D4 Note on the Dulcimer. Within the value the plus (+) sign indicates the Right Hand while a minus (-) sign indicates the Left Hand.

412d = References the 1 1 * set of Strings of the Dulcimer. The notes played on this set of strings are B4; E4 and A3 Notes.

414a = First 8 Bars of "La donna e mobile" by Giuseppe Verdi's opera 'Rigoletto' for the Piano Accordian.

414b = References the Right Hand Ring Finger

414c = References the 5^th Outermost Row of the Bass Section in the Accordian.

414d = Indicates to the user to play the 11^th button upon the Innermost Row of the Bass Section with the Left Hand Ring Finger. This would create a B Note Counter Basses Tone.

416a = First 8 Bars of "La donna e mobile" by Giuseppe Verdi's opera 'Rigoletto' for the Guitar.

416b = References the Low E String of the Guitar.

416c = Indicates the user is to play the 42^nd note ( 12^th Fret) of the D String with the Pinkie Finger of the Left Hand.

418a = First 8 Bars of "La donna e mobile" by Giuseppe Verdi's opera 'Rigoletto' for the Violin.

418b = References the G String of the Violin

418c = References the High E String of the Violin

418d = Indicates to the user to play the 47^th note (G4 Note) on the D String with the Left Hand Ring Finger.

418e = Indicates to the user to play the Open A String of the Violin. This value could also be substituted with a value of forty-nine.

418f = Indicates to the user to play the 51 ^st note (B4 note) of the D String with the Left hand Middle Finger.

420a = First 8 Bars of "La donna e mobile" by Giuseppe Verdi's opera 'Rigoletto' for the Harp.

420b = Indicates to the Harpist to play the 42^nd note (D4 String) with the

Right Hand Middle Finger.

420c = References the Right Hand Thumb.

42Od = References the Left Hand Thumb

422a = First 8 Bars of "La donna e mobile" by Giuseppe Verdi's opera 'Rigoletto' for the Tin Whistle.

422b = References a line upon which notes for a Tin Whistle are placed.

422c = Indicates the user is to play the 42^nd note (D4 note) upon the Tin Whistle. This would require the user to cover all the holes of a conventional Tin Whistle.

422d = References the 1^st Uppermost Hole upon a Tin Whistle. This hole is normally covered with the Left Hand Index Finger (D).

422e = References the 3^rd Uppermost Hole upon a Tin Whistle. This hole is normally covered with the Left Hand Ring Finger (B).

422f = References the Lowermost Hole upon a Tin Whistle. This hole is normally covered with the Right Hand Ring Finger (I).

424a = First 8 Bars of "La donna e mobile" by Giuseppe Verdi's opera 'Rigoletto' for the Clarinet.

424b = References a line upon which notes for a Clarinet are placed.

424c = Indicates the user is to play the 42^nd note (D4 note) upon the Clarinet. This would require the user to configure the Left Hand Thumb; Index Finger and Middle Finger in creating the tone. 424d = References the 1^st Uppermost Hole/Valve/Key upon a Clarinet. This hole is normally covered with the Left Hand Thumb Finger (E).

424e =

424f = References the 5^th Uppermost Hole/Valve/Key upon a Clarinet.. This hole is normally covered with the Left Hand Index Finger (D).

424g = References the 8^th Uppermost Hole/Valve/Key upon a Clarinet. This hole is normally covered with the Left Hand Ring Finger (B).

424h = References the 12^th Uppermost Hole/Valve/Key upon a Clarinet.. This hole is normally covered with the Left Hand Pinkie Finger (A).

424i = References the 4^th Lowermost Hole/Valve/Key upon a Clarinet.. This hole is normally covered with the Right Hand Index Finger (G).

424j = References the 6^th Lowermost Hole/Valve/Key upon a Clarinet.. This hole is normally covered with the Right Hand Middle Finger (H).

424k = References the 8 Lowermost Hole/Valve/Key upon a Clarinet.. This hole is normally covered with the Right Hand Ring Finger (I).

4241 = References the 42^nd note (D4 note) upon the Clarinet.

424m = Indicates the user is not to cover or depress any buttons on the Clarinet in order to create the 47^th note (G4 note).

426a = First 8 Bars of "La donna e mobile" by Giuseppe Verdi's opera 'Rigoletto' for Non- Artificial and Artificial Drum Kits.

426b = Horizontal Line represents the Right Hand

426c = Horizontal Line represents the Left Hand

426d = Horizontal Line represents the Right Foot

426e = Horizontal Line represents the Left Foot

426f = Indicates to the user to play the Hi-Hat with the Right Hand.

428a = First 8 Bars of "La donna e mobile" by Giuseppe Verdi's opera 'Rigoletto' for the Vocals of the Human Voice.

428b = References a line upon which notes for a Vocal are placed.

428c = Indicates to the Vocalist to create a 42^nd note (D4 note) equalivent to the fundamental tone on the Classical Piano.

428d = References the Dynamics for the Human Voice. Vl=softest/whisper ('soft'); V2= slightly louder V3= slightly louder; V4= slightly louder; V5= slightly louder (mezzo forte 'moderately loud'); V6= slightly louder; W= slightly louder; V8= slightly louder ('forte' loud) V9= V10=Loudest ('fortissimo'). In this case the Dynamics are V4= just softer than 'mezzo forte'.

430 = Horizontal Line represents a line on which numeric values are placed that correspond to the fundamental frequencies of a piano created by the human voice and its vocal ranges of Soprano, Mezzo-Soprano, Contralto, Tenor, Baritone and Bass.

432 = Lyric Area (Lyrics of music are indicated)

434 = New Generation Music Notation for First 6 Bars of "Mad World" by Roland Orzabal performed by Gary Jules for Piano.

436a = New Generation Music Notation System indicating each individual finger of the Left Hand (A=Left Hand Pinkie Finger; B=Left Hand Ring Finger; C=Left Hand Middle Finger; D= Left Hand Index Finger and E=Left Hand Thumb Finger).

436b = New Generation Music Notation System indicating each individual finger of the Right Hand (F=Ri ght Hand Thumb Finger; G=Ri ght Hand Index Finger; H=Right Hand Middle Finger; I=Right Hand Ring Finger and J=Right Hand Pinkie Finger). 436c = Indicates the Mood of the Music

436d = Indicates the Tempo in BPM (Beats per Minute)

436e = Represents the Grid that contains the Beats within each Bar of Music.

436f = Indicates the 42 ,nⁿd^α key on the Piano to be played with the Right

Hand Thumb Finger.

436g = Represents how notes are Tied to one another indicating a flowing movement in music.

436h = Indicates the 33^rd key on the Piano to be played with the Left Hand Ring Finger.

436i = Indicates utilizing a Customized Chord, Scale & Arpeggio

Configuration System the 55^th key of the Piano is to be played with the Right Hand Ring Finger. Further the 48^th key is played with the Right Hand Thumb while the 52^nd Key is played with the Right Hand Index Finger. Played in synchronous motion all the notes form a Chord.

436j = Customized Chord, Scale & Arpeggio Configuration System 444a = Chord/Scale/Arpeggio Configuration System (C.S.A.C.S.) for

Piano (Chords) 444b = Chord/Scale/Arpeggio Configuration System (C.S.A.C.S.) for

Piano (Scales)

444c = Chord/Scale/Arpeggio Configuration System (C.S.A.C.S.) for

Piano (Arpeggios) 446a = Chord/Scale/Arpeggio Configuration System (C.S.A.C.S.)for

Guitar (Chords) 446b = Chord/Scale/Arpeggio Configuration System (C.S.A.C.S.) for

Guitar (Scales) 446c = Chord/Scale/Arpeggio Configuration System (C.S.A.C.S.) for

Guitar (Arpeggios) 448a = Instrument Indicator for C.S.A.C.S. (P=Piano) 448b = Root Indicator for C.S.A.C.S. 448c = Mode Indicator for C.S.A.C.S. (C=Chords) 448d = Logic Formula Indicator for C.S.A.C.S. 448e = Inversion Value Indicator for C.S.A.C.S. 450a = Instrument Indicator for C.S.A.C.S. (P=Piano) 450b = Root Indicator for C.S.A.C.S. 450c = Mode Indicator for C.S.A.C.S. (S=Scales) 45Od = Logic Formula Indicator for C.S.A.C.S. 45Oe = Inversion Value Indicator for C.S.A.C.S. 452a = Instrument Indicator for C.S.A.C.S. (P=Piano) 452b = Root Indicator for C.S.A.C.S. 452c = Mode Indicator for C.S.A.C.S. (A=Arpeggios) 452d = Logic Formula Indicator for C.S.A.C.S. 452e = Inversion Value Indicator for C.S.A.C.S. 454a = Instrument Indicator for C.S.A.C.S. (G=Guitar) 454b = Root Indicator for C.S.A.C.S. 454c = Mode Indicator for C.S.A.C.S. (C=Chords) 454d = Logic Formula Indicator for C.S.A.C.S. 454e = Inversion Value Indicator for C.S.A.C.S. 456a = Instrument Indicator for C.S.A.C.S. (G=Guitar) 456b = Root Indicator for C.S.A.C.S. 456c = Mode Indicator for C.S.A.C.S. (S=Scales)

456d = Logic Formula Indicator for C.S.A.C.S.

456e = Inversion Value Indicator for C.S.A.C.S.

458a = Instrument Indicator for C.S.A.C.S. (G=Guitar)

458b = Root Indicator for C.S.A.C.S.

458c = Mode Indicator for C.S.A.C.S. (A=Arpeggios)

458d = Logic Formula Indicator for C.S.A.C.S.

458e = Inversion Value Indicator for C.S.A.C.S.

460a = C.S.A.C.S. Formulae in Piano-Right Hand C Major Chord- P40C01

460b = C.S.A.C.S. Formulae in Piano-Left Hand C Major Chord- P40C01

460c = Right Hand Configuration for playing Chords (F=Thumb, G=Index, H=Middle, I=Ring and J=Pinkie Finger)

46Od = Left Hand Configuration for playing Chords (A=Pinkie, B=Ring, C=Middle, D=Index and E=Thumb)

46Oe = Numeric Value indicating the 47th key from the Piano (played by the Pinkie Finger)

46Of = Numeric Value indicating the 47th key from the Piano (played by the Thumb)

462a = C.S.A.C.S. Formulae in Piano-Right Hand C Major Scale-

P40S01

462b = C.S.A.C.S. Formulae in Piano-Left Hand C Major Scale-P40S01

462c = Right Hand Configuration for playing Scales (F=Thumb, G=Index, H=Middle, I=Ring and J=Pinkie Finger)

462d = Left Hand Configuration for playing Scales (A=Pinkie, B=Ring, C=Middle, D=Index and E=Thumb)

462e = Numeric Value indicating the 52nd key from the Piano (played by the Pinkie Finger)

462f = Numeric Value indicating the 52nd key from the Piano (played by the Thumb)

464a = C.S.A.C.S. Formulae in Guitar-C Major Chord-G40C01

464b = C.S.A.C.S. Formulae in Guitar-C Major Chord-G40C01

464c = String Configuration on Guitar (Low E String; A String; D

String; G String; B String and High E String)

464d = Left Hand Configuration for playing Guitar Chords (A=Pinkie,

B=Ring, C=Middle, D=Index and E=Thumb)

464e = Numeric Value indicating the Open High E String from the Guitar

464f = Numeric Value indicating the 40th Note upon the B String from the Guitar (played by the Index Finger)

464g = Guitar Chord Root Indicator (in the example: all the C notes would have markers)

466a = C.S.A.C.S. Formulae in Guitar-C Major Scale-G40S01

466b = C.S.A.C.S. Formulae in Guitar-C Major Scale-G40S01

466c = Left Hand Configuration for playing Guitar Scales (A=Pinkie,

B=Ring, C=Middle, D=Index and E=Thumb)

466d = Left Hand Configuration for playing Guitar Scales (A=Pinkie, B=Ring, C=Middle, D=Index and E=Thumb) 466e = Numeric Value indicating the 3rd fret of High E String from the Guitar

466f = Numeric Value indicating the 47th Note upon the High E String from the Guitar (played by the Pinkie Finger)

466g = Guitar Chord Root Indicator (in the example: all the C notes would have markers)

466h = Power Integer Value for String Configuration (l=Low E String;2=A String; 3=D String; 4=G String; 5=B String and 6=High E String)

466i = As 466h-Example shows integer/power value of (4) which would indicate the G String.

468a = C.S.A.C.S. Formulae in Guitar-C Major Scale beginning on 10th Fret-G40S011

468b = C.S.A.C.S. Formulae in Guitar-C Major Scale beginning on 10th Fret-G40S011

468c = Left Hand Configuration for playing Guitar Scales (A=Pinkie, B=Ring, C=Middle, D=Index and E=Thumb)

468d = Left Hand Configuration for playing Guitar Scales (A=Pinkie, B=Ring, C=Middle, D=Index and E=Thumb)

468e = Numeric Value indicating the 13th fret of High E String from the Guitar

468f = Numeric Value indicating the 57th Note upon the High E String from the Guitar (played by the Ring Finger)

468g = Power Integer Value for String Configuration (l=Low E String;2=A String; 3=D String; 4=G String; 5=B String and 6=High E String)

468h = As 468g-Example shows integer/power value of (5) which would indicate the B String.

468i = Fret Indicator for Representing Chords/Scales/Arpeggios higher up the Guitar Fretboard.

468j = Numeric Value indicating the 10th fret of G String from the Guitar played with the Middle Finger

470a = Technical Guitar Block Formula T.G.B.F.

:(Tapping/HammerOns/Pull Offs) Example:EL32Tl (EL=Low E String/ 32=Root/ T=Tap/ l=Version One)

470b = Technical Guitar Block Formula

T.G.B.F.:(Tapping/HammerOns/Pull Offs) Example:A37Tl (A=A String/ 37=Root/ T=Tap/ l=Version One)

470c = Technical Guitar Block Formula

T.G.B.F.:(Tapping/HammerOns/Pull Offs) Example:D42Tl (D=D String/ 42=Root/ T=Tap/ l=Version One)

47Od = Technical Guitar Block Formula

T.G.B.F.:(Tapping/HammerOns/Pull Offs) Example:G47Tl (G=G String/ 47=Root/ T=Tap/ l=Version One)

47Oe = Technical Guitar Block Formula

T.G.B.F.:(Tapping/HarnmerOns/Pull Offs) Example:B51Tl (B=B String/ 51 =Root/ T=Tap/ l=Version One)

47Of = Technical Guitar Block Formula

T.G.B.F. :(Tapping/HammerOns/Pull Offs) Example:EH56Tl (EH=High E String/ 56=Root/ T=Tap/ l=Version One) 47Og = Root Indicator for Advanced Technique Guitar Formula (Example: ROOT 56= The Root Note is the 56th note on the High E String of the Guitar)

47Oh = Guitar Note Fret Reference (Indicates a certain numeric value on the Guitar-Example: 32= 32nd note/12th fret on the Low E String of Guitar)

47Oi = Tap Indicator (Indicates to the User when to use their opposite fingers to Tap a certain fret on Guitar)

47Oj = Hand Configuration Reference Block for T.G.B.F. (Example shown:H, D, A=Right Hand Index Finger; Left Hand Index Finger; Left Hand Pinkie)

470k = Block Formula Divider (Divides the New Generation Reference for Frets and the General Reference for Frets)

4701 = Guitar Note Fret Reference (Indicates a certain fret on the Guitar- Example: 12= 12th fret on the High E String of Guitar)

472a = Technical Guitar Individual Formula

T.G.I.F.:(Tapping/HammerOns/Pull Offs) Example:EH49Tl (EH=High E String/ 49=Root/ T=Tap/ 1= Version One)

472b = Technical Guitar Individual Formula

T.G.I.F.:(Tapping/HammerOns/Pull Offs) Example:EH5Tl (EH=High E String/ 5th Fret=Root/ T=Tap/ l=Version One)

472c = Guitar Note Fret Reference (Indicates a certain numeric value on the Guitar-Example: 496= 49th note/5 th fret on the High E String of Guitar)

472d = Guitar Note Integer Reference (Indicates a specific string on the Guitar-Example: 6= 6th High E String of Guitar)

472e = Hand Configuration Reference Block for T.G.I.F. (Example shown:D,B,H,B,D,B,H,B,D,P=Left Hand Index Finger;L/Ring Finger;R/H Index Finger;L/Ring Finger;L/H Index Finger;L/Ring Finger;R/H Index Finger;L/Ring Finger;L/H Index Finger;L/H Index Finger Pull Off)

472f = Guitar Note Fret Reference (Indicates a certain numeric value on the Guitar-Example: 8= 8th fret on the High E String of Guitar)

472g = Tap Indicator (Indicates to the User when to use their opposite fingers to Tap a certain fret on Guitar)

472h = Pull Off Indicator (Indicates to the User when to use the Pull Off technique on the string of the Guitar)

480 = New Generation Music Notation for First 6 Bars of "Mad World" by Roland Orzabal performed by Gary Jules for String Instrument (Guitar).

482a = New Generation Music Notation System indicating each individual String of the String Musical Instrument (E=Low E String (20^th key on a Piano) ; A=A String (25^th key on a Piano); D=D String (30^th key on a Piano); G= G String (35^th key on a Piano); B=B String (39^th key on a Piano) and E=High E String (44^th key on a Piano).

482b = New Generation Music Notation System indicating each individual String of the String Musical Instrument (E=Low E String (20^th key on a Piano) ; A=A String (25^th key on a Piano); D=D String (30^th key on a Piano); G= G String (35^th key on a Piano); B=B String (39^th key on a Piano) and E=High E String (44^th key on a Piano).

482c = Indicates the 43 ^rd note on the Guitar to be played with the Right Hand Index Finger

482d = Indicates the 47^th note on the Guitar to be played with the Right Hand Ring Finger 482e = Represents how a group of notes are Tied together played in a flowing movement

482f = Indicates the 50^th note on the Guitar to be played with the Left Hand Ring Finger

482g = Indicates the 50^th note on the Guitar

482h = Indicates how a particular Chord is referenced with a Formula utilizing a New Generation Chord Configuration System. In this example the 36^th note is the Root Note; C=Chord and 01 references the Type of Chord it is i.e., Major Chord.

482i = Indicates how the 48^th note on the Guitar is depressed to form a certain note within the Chord. In the example: all the following notes are depressed to play the chord: the Low E String is not played; the 31^st note is depressed with the Left Hand Ring Finger; the 36^th note is depressed with the Left Hand Pinkie Finger; the 40^th note is depressed with the Left Hand Middle Finger; the 43^rd note and 48^th note are depressed with the Left hand Index Finger.

482j = Finger Configuration to Play Chords. Depending on the alpha characters determines the Hands the Chords are played with. Left Hand (A=Left Hand Pinkie Finger; B=Left Hand Ring Finger; C=Left Hand Middle Finger; D= Left Hand Index Finger and E=Left Hand Thumb Finger & Right Hand (F=Right Hand Thumb Finger; G=Right Hand Index Finger; H=Right Hand Middle Finger; I=Right Hand Ring Finger and J=Right Hand Pinkie Finger.

490a = Conventional Sheet Music MIDI File Format Representation of 1^st bar of "Mad World" composed by Roland Orzabal performed by Gary Jules.

490b = New Generation Scorewriter Version Representation

490c = New Generation Scorewriter Version Data Input for Finger Configuration for notes on musical instrument. Left Hand (A=Left Hand Pinkie Finger; B=Left Hand Ring Finger; C=Left Hand Middle Finger; D= Left Hand Index Finger and E=Left Hand Thumb Finger & Right Hand (F=Right Hand Thumb Finger; G=Right Hand Index Finger; H=Right Hand Middle Finger; I=Right Hand Ring Finger and J=Right Hand Pinkie Finger.

49Od = New Generation Music Notation System Representation of unique MIDI File Format prepared for output to an Internal or External Device.

492a = Stage One Conversion Process from Conventional MIDI File

Representation Format to New Generation MIDI File Format. (Input for Finger Configuration).

492b = Stage Two Conversion Process from New Generation MIDI File

Format (Input for Finger Configuration).

492c = Stage Three Completion of Conversion Process from

Conventional MIDI to New Generation MIDI Format.

494a = Conventional F3 Note upon the Bass Clef of Standard Sheet Music Representation from Conventional MIDI File Format.

494b = Input Select for Finger Configuration Alpha Characters designating correct Finger to play specific notes.

494c = Indicates how an input selection of B has been entered thereby representing the Left Hand Ring Finger.

494d = New Generation Music Notation System representation of the 33^rd note on the Piano now to be played with the Left Hand Ring Finger.

500 = Standard Sheet Music System Version of Hungarian Rhapsody No.2 by Franz Liszt.

502 = New Generation Music Notation System Version of Hungarian Rhapsody No. 2 by Franz Liszt. DEFINITIONS AND ACRONYMS

A great care has been taken to use words with their conventional dictionary definitions. Following definitions are included here for clarification in alphabetical order.

Cling Vinyl = Static cling vinyl is a special formulation of polyvinyl chloride (PVC) (or other formulations) to which a large amount of plasticizer (a liquid) has been added. This highly plasticized formulation is exceptionally pliable. The vinyl is calendered to give it a smooth finish. When the vinyl film is applied to a clean, smooth, glossy surface, it adheres firmly without the need for an adhesive. Because there is no adhesive, application or installation is very easy. It can be removed and re-applied nearly indefinitely without leaving behind an adhesive residue. This makes it ideal for seasonal window graphics, signs, decals, point of purchase applications and protective masking applications aswell as placing such vinyl films over the surfaces of musical instruments.

CN. V.D.F. = This represents {Color Note Value Designation Formula} a specific formula created by the author in a prior application which indicates the rhythm of music, whereby assigning a specific color namely Blue, Brown, Black, Red, Orange, Green, Purple and Pink to a specific note value of which there are eight of used in conventional notation namely, Semibreve, Minim, Crotchet, Quaver, Semiquaver, Demisemiquaver, Hemidemisemiquaver and Semihemidemisemiquaver. For example: Black indicates a Crotchet, while Purple indicates a Hemidemisemiquaver.

Customized = When the term customized is utilized within this application, it is disclosing the fact of how any component or device is engineered through mechanical or other process to contain the embodiment of the authors' new generation music notation system.

DAW = A digital audio workstation (DAW) is a system designed to record, edit and play back digital audio. A key feature of DAWs is the ability to freely manipulate recorded sounds, much like a word processor manipulates typed words.

Digit Ratio = The digit ratio is the ratio of the lengths of different digits, fingers or toes, typically as measured from the bottom crease where the finger joins the hand to the tip of the finger. It has been suggested by some scientists that the ratio of two digits in particular, the 2nd (index finger) and 4th (ring finger) is affected by exposure to androgens such as testosterone while in the uterus and that this 2D:4D ratio can be used as a crude measure for prenatal androgen exposure.

Finger Color Designation Formula (F.C.D.F.) = This refers to how a specific set often colors are used to emit light emitting diodes upon any musical instrument within the mechanisms disclosed.

Platform = A platform describes some sort of hardware architecture or software framework (including application frameworks), that allows software to run. Typical platforms include a computer's architecture, operating system, or programming languages and their runtime libraries.

Score-Writer = A Score- Writer, or music notation program, is software used to automate the task of writing and engraving sheet music. A Score-Writer is to music notation what a word processor is to written text. AU Score- Writers allow the user to input, edit and print music notation, to varying degrees of sophistication. They range from programs, which can write a simple song, to those that can handle the complexities of orchestral music, specialist notations, and high-quality music engraving. Within the authors' prior applications, aswell as this current application a new custom Scorewriter is proposed. This custom writer displays a collection of thirty-six or more different notation system designs each referencing a specific musical instrument including the vocals. All elements of all notation systems are fully editable and can be displayed upon internal and external display devices or output to external printers and saved in Adobe PDF format. Unlike conventional Score-Writers and computer program Readers like the Microsoft Reader and the Adobe Acrobat Reader which display conventional sheet music in digital form where applicable, this new custom Score- Writer and other customized Readers developed by the author will display a unique N.G.M.N.F., which have at their core a set of horizontal/vertical lines and columns that represent the limbs of a human user and additional components of other musical instruments in electronic form.

Wired Glove = A conventionally manufactured wired glove is a glove- like input device for virtual reality environments. Various sensor technologies are used to capture physical data such as bending of fingers. Often a motion tracker, such as a magnetic tracking device or inertial tracking device, is attached to capture the global position / rotation data of the glove. These movements are then interpreted by the software that accompanies the glove, so any one movement can mean any number of things. Gestures can then be categorized into useful information, such as to recognize Sign Language or other symbolic functions. Expensive high-end wired gloves can also provide haptic feedback, which is a simulation of the sense of touch. This allows a wired glove to also be used as an output device. Traditionally, wired gloves have only been available at a huge cost, with the finger bend sensors and the tracking device having to be bought separately. For example those by ShapeHand & ShapeHandPlus and I-CubeX TouchGloves. One of the first wired gloves available to home users was the Nintendo Power Glove. This was designed as a gaming glove for the Nintendo Entertainment System. It had a crude tracker and finger bend sensors, plus buttons on the back. In 2001, Essential Reality made a similar attempt at a cheap gaming glove, this time for the PC: the P5 Glove. However, this peripheral never really became popular among gamers.

The reader can now readily see how the above detailed description results in the following benefits of the invention over the prior art. a) User Friendly self teaching of any musical instrument b) Suitable for people of all ages and gender in all types of situations. c) Multiple uses in a wide range of situations and circumstances. d) Easily adaptable for other uses. e) Intuitive new generation music notation system

Claims

1. A scorewriter program comprising computer program code which when executed on a computing device is arranged to carry out the steps of: receiving 1^st and 2^nd channels of data, the 1^st being data representing a piece of music; and converting the data into custom music notation of the piece of music.

2. A scorewriter program according to claim 1 adapted to analyze data corresponding to finger positioning required for the generation of the piece of music; and to map the music data onto the finger positioning data in generating the custom music notation.

3. A scorewriter program according to claim 1 or 2 which is arranged to convert the 1^st and 2^nd channels of data into morpheus music notation of the piece of music.

4. A scorewriter program according to any of claims 1 to 3 arranged to generate a graphical user interface and to display the custom music notation on the interface.

5. A scorewriter program according to claim 4 in which the graphical user interface facilitates inputting of the 2^nd channel of data.

6. A scorewriter program according to claim 5 adapted, via the graphical user interface, to enable the data comprising the 2^nd channel of data to be manually mapped onto the music data; and to convert the mapped 1^st and 2^nd channels into the custom music notation of the piece of music.

7. A scorewriter program according to claim 6 adapted to perform the steps of displaying the piece of music in conventional notation on the graphical user interface; providing a field associated with each note forming the piece of music; enabling the input of the 2^nd channel of data into the fields; and converting the resulting data into the custom music notation.

8. A scorewriter system comprising a scorewriter program according to any of claims 1 to 7; computing means on which the program is executable; 1^st input means adapted to receive the 1^st channel of music data; and 2^nd input means adapted to receive the 2^nd channel of data.

9. A scorewriter system according to claim 8 comprising a plurality of sensors which are adapted to be associated with a users fingers and each of which is capable of generating a signal when the respective finger is utilized in playing a musical instrument, which signals comprise the 2^nd channel of data.

10. A scorewriter system according to claim 8 or 9 in which the 1^st input means is adapted to receive MIDI data.

1 1. A scorewriter system according to claim 9 or 10 in which the 2^nd input means is adapted to receive signals generated by the finger position sensors.

12. A scorewriter system according to any of claims 9 to 1 1 in which each sensor comprises a pressure sensor.

13. A scorewriter system according to any of claims 9 to 12 in which each sensor comprises an accelerometer.

14. A scorewriter system according to any of claims 9 to 13 in which each sensor comprises means to indicate the actuation of said sensor.

15. A scorewriter system according to any of claims 8 to 14 in which the scorewriter program is adapted to effect the audio and/or visual playback of a piece of music, and to generate corresponding 1^st and 2^nd channels of data.

16. A scorewriter system according to claim 15, when dependent on any of claims 9 to 14, in which each sensor comprises 1^st actuatable indicia; the system being adapted to output the 2^nd channel of data to the sensors in order to actuate the 1^st indicia.

17. A scorewriter system according to claim 16 comprising a customized musical instrument comprising 2" actuatable indicia; the system being adapted to output the 1^st channel of data to the musical instrument in order to actuate the 2ⁿ indicia.