In my work, notation cannot remain static if the work itself refuses stability. Contemporary composition requires a language elastic enough to register rupture, accumulation, contradiction, interference, and new relations between seeing and sounding. Traditional systems of notation continue to hold enormous value, but they also carry fixed assumptions about order, hierarchy, legibility, and performance. When a piece begins elsewhere, its notation must do the same.
I create new systems for each work because no single notational language can adequately serve every compositional premise. The score is not a neutral vessel. It is an active structure of thought. It determines how the eye moves, how information is withheld or released, how the performer enters the work, and how the visual field itself becomes part of the composition. For me, notation is not merely a means of transmission. It is one of the places where the work is composed.
The attached image presents two new fonts I have created, Pistaballo and Crated Palmetto. These are not stylistic embellishments laid over an existing system. They are instruments of notation in their own right. Each proposes a different visual logic, a different pressure of reading, and a different way of organizing the relationship between text, symbol, sound, and gesture.
Pistaballo operates through abrasion, congestion, and graphic stress. Its letterforms appear burdened, fractured, and overwritten, as though language were passing through a field of distortion. The characters do not offer themselves as transparent carriers of meaning. They produce resistance. They slow reading down. They force the performer into contact with language as material rather than language as simple instruction. In this way, the font does not just communicate information. It stages difficulty, and that difficulty becomes part of the score’s performative charge.
Crated Palmetto moves differently. Its forms are more orbital, enclosed, and modular. The letters seem assembled rather than written, as if they have been built from rotating parts or compressed into sculptural units. They suggest containment, torque, and internal motion. Here the alphabet behaves less like a stable typographic system and more like a set of objects in suspension. The effect is not decorative. It changes how language occupies the page and how the page proposes action.
What matters is that these fonts belong to the compositional logic of the work. They are not external design features. They alter the score’s behavior. They reshape how notation is encountered, how meaning is distributed, and how performance might emerge from the visual field. They establish different climates of reading. They propose different thresholds of entry. They generate different kinds of attention.
The need for an evolving language in contemporary notation is, for me, not theoretical rhetoric. It is a compositional necessity. New works generate new demands. New demands require new systems of inscription. If one continues to rely on inherited notation for every new musical condition, then the score risks reducing unfamiliar thought to familiar form. I am interested in building scores that do the opposite: scores that expand the conditions of thought, scores that allow each composition to discover the language it requires.
That is why I make new systems for each work. Notation should not arrive fully solved in advance. It should emerge from the internal pressures of the composition itself. Pistaballo and Crated Palmetto are part of that process. They are not just fonts. They are notational propositions, each one opening a different route through the unstable territory where language, image, and sound meet.
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