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c
c
c
c
c
c
c
Traditional Notation
Twinline (Reed & de Vries)
Black and White Twinline
D-symmetrical 7-5 Twinline
Express Stave (Keller)
6-6 Express Stave
Isomorph (Wojcik) Isomorph (Wojcik) Isomorph (Wojcik)

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#
#
#

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#
#
#
c
a
c
c
a d
c
b
c
c
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c f
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b
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~

Finale Notation Converter: J azz chords shown in various notations

11
C#m9
*** In Isomorph, the noteheads should actually be circular.
* In Twinline, chord notes a minor third or less apart appear on opposite sides of stem; or, if necessary, on a subsidiary stem (not shown).
(experiment by D. Keislar) *
(experiment by J Keller) *
(experiment by J . Keller)
*
(modified) ***
13
+11
F#9
11
Ebm9
13
+11
Ab 9
11
Fm9
13
+11
Bb 9
**
**
** In the two Keller systems, notes are placed on the right of the stem except for the lower of any notes a 2nd apart.
Notice that with a 6-6 notehead coloring, the same chord appears identical in all transpositions (or as a black-and-white
negative of the original, as seen on the next page). This is most easily seen above in 'I somorph' and '6-6 Express Stave'.
(Some systems, such as Klavar and I somorph, enforce notehead placement on a specific side of the stem. I n the case of
I somorph, this feature helps reinforce visual similarity in different transpositions.)
(Rhythmic notations not illustrated)
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TN
TL
TL (B/W)
TL (D:7-5)
ES
ES (6-6)
Isom Isom Isom
4

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2
11
F#m9
11
Abm9
13
+11
B 9
13
+11
Db 9
11
Bbm9
13
+11
Eb 9