something different mainly for keyboards
I have retained the names of the white keys and renamed the black keys to 1,2....3,4 ,5. This convenient distinction is easily memorized in about 1 minute.
Note here that the placement can be off to some degree without making it difficult to see which octave it lies in. This allows us to enlarge the letters and numbers to greater than 1/12 of the lateral span of an octave for easy viewing.
Here is shown a left and a right hand chord played simultaneously. The left chord (F-F) has an octave bar between the two F's. Such chords are quite common and I found that placing a bar between a two note octave chord made it much easier to pick up visually. As its most general rule, E...Basic employs no tactic which does not yield more ease of use than it detracts. (Obviously, whenever we put more symbols and/or marks on the paper we make it more difficult for the mind to navigate through them quickly.)
A dot or ( o, ~ , / , \ ) is placed between notes played by the left and right hand. I found it very useful to place a row of dots between widely separated hands so as not to lose their connection when reading them. Often the left/right hand aspect is obvious and we can dispense with the hand separaters (.o~/ \ ) for purposes of clarity (less is more).
An arrow through a group of notes means a run of notes (F then B then 1 then E then F). Used wherever possible, it is much easier to run a scale when the notes are arranged in a line. This is an empirical observation about the way we read music. (I have not determined the why of it.)
A simple line through the staff separates music of different character.
(~) means an arpegio. (tr) means a trill. (tr...) means an extended trill. And ( means to put in a grace note. These are somewhat arbitrary and there are many other notation bits one could invent. I will not do so except on a case by case basis. One should strive, when inventing a new mark, to keep it simple and as obvious as possible so that it will lend itself to standardization.
It is the composers' province to add these. I discourage it because it most often involves artistic expression on the part of the pianist. When a composer gives such directions is has the appearance of Shakespeare giving precise directions on how to recite Hamlet's sililoquy. If the pianist doesn't grasp the music from the notes themselves, he won't grasp it from any number of specific directions. Also, there is more than one good way to play a given piece of music, some of which are wildly at odds with the composers preferences.
I found it expedient to put three pieces of something (white adhesive tape about 1/2" x 2") on my piano to give a visual reference associated with the E...Basic staff. I also put a piece of black velcro (the soft half) on each number four key so that I wouldn't get a headache from looking back and forth from paper to keyboard. Refocusing the eyes produces eyestrain. This is a temporary measure which you might wish to employ. It allows you to find out where you are on the board without looking or "feeling" for the groups of 2 or 3 black keys. (Most people will find furry keys objectionable I think.
These are all the rules I am going to make up for E...Basic. Clearly, if one wanted to, an entire pantheon of rules could be written to indicate timing, duration, key signature, volume, stacato, legato, pedaling, etc. One could for instance have the type appear darker or larger for stronger notes. The font could be changed from a blockish type for stacato to a florid one for legato, etc. But in my experiments I have found that these distinctions are far more trouble than they are worth. Perhaps more details will be added when the process can be computerized (but probably not the data compression parameter).
If you wish, I invite you to try the available examples. Print them out if you are able and see for yourself how little you must learn in order to read this notation and transfer it to the piano.