By way of introduction to the more distinctly practical portion of this paper, I propose to examine concisely the following question:— ‘What are the essential requisites of a good notation for musical pitch?’ I shall then enquire how far the system in common use satisfies the conditions which an answer to this question must embody. Before submitting to the Association some suggestions of my own for remedying the defects which will thus be brought to light, I shall make a few observations on the leading methods by which others have sought to attain the same object. This will be done with no desire to disparage the merits of these schemes, but merely in order to show that their success has not been so complete as to render further efforts superfluous and uncalled for.