The chordboard is an electronic musical instrument based on software, and played by a keyboard controller. One implementation is a set of four MIDI keyboards arranged vertically. The patent for this musical technology obtained by Grant Johnson, inventor, in 1995, specifically identifies the seven chords that exist for each key signature, and how these key signatures can be selected at any time while playing the instrument to achieve a key signature change, and thus an instant change in chords. In every key signature there are seven chords, and each of these chords are identified on the chordboard as follows (signified by the Nashville Number System): I chord is major tonality, referred to as ROOT CHORD ii chord is minor tonality, referred to as SUPER TONIC CHORD iii chord is minor tonality, referred to as MEDIANT CHORD IV chord is minor tonality, referred to as SUB-DOMINANT CHORD V chord is minor tonality, referred to as DOMINANT CHORD vi chord is minor tonality, referred to as SUB-MEDIANT CHORD vii chord is minor tonality, referred to as LEADING TONE CHORD Pressing a key on any one of the chordboard's four keyboards sounds a single note within the chord zone. Each key plays only one note. To play a chord, the musician plays two or more keys, similar to a piano. History The chordboard original started as a prototype stand alone self-contained unit created by Grant Johnson (inventor/musician), but evolved into a software based musical instrument that could work with a variety of hardware devices, as music technology has continually evolved centered around a DAW. With the advent of readily available Digital Audio Workstation (DAW) easily accessible to the consumer masses on account of much lower cost options (with some being freely available i.e. Audacity), the chordboard can be configured using any type of MIDI keyboard connected via USB to a MAC or PC computer. The Chordboard evolved to a set of vertically stacked keyboards and was dubbed the Chordboard STAC, consisting of four midi controller keyboards (61 keys each) and where the black keys were disabled in software and only the white keys were mapped to various harmonic notes within the chord, depending on genre. For instance, in a JAZZ genre, the STAC would utilize chord voicings that were compatible with larger chords such as the 9th, 11th, and 13th. The STAC allowed for key changes, genre changes, on the fly by a