For the second graphic score I made I again used Paganini’s Cantabile. The seven notes that make up the entire range of musical sound are on top. The line of “code” is moving from the top left corner, resembling a violin fingerboard. I had to tackle addressing note value (length) and pitch. For simplicity my score does not differentiate between octave changes for the same pitch. A unit rectangle equals an eighth and longer notes are composed of attached unit rectangles. As the note is sounded, the value indicator connects to the pitch, while the next two consecutive notes are hinted in more transparent color. This offers some foresight into the direction of the piece, but the constraint (since only a limited portion of the music can be displayed at a time) forces a focus on the music at hand. Already I was feeling like the score I created was addressing a different type of music - certainly not the classical kind I’ve been listening for the project. Additionally, designing how my score works allowed me to understand the task the artist (Klee in my case) faces when instituting an order in his paintings.