Statement of the problem. Musical notation is an open, symbolic system of composer’s thinking. At the dry stage of its development, it becomes individualized in the creativity of a number of composers, which is thought out the development of new forms of overcoming the material through advanced piano techniques and atypical logic. The article introduces the concept of “open” musical notation as a method of musical composition. On the example of compositional analysis of his “Engravings” for piano (2021), the author sets out its principles. Analysis of recent research and publications. A number of works are devoted to the theme of notation, which can be divided into: 1) on history and typology of traditional notation (Rastall, 1983; Strayer, 2013; Ship, 2016; Kachmar, 2019); 2) non-traditional notation (Stone, 1980; Dubinets, 1999; Muzhchil, 2016). There are researches that reveal the idea of “open” work by U. Eco (1979), which corresponds to the theme of the article, among which – “From a Work to an ‘Open’ Work: Research Experience” (Zavialova & Kalashnyk & Savchenko & Stakhevuch & Smirnova,2020). Main objective(s) of the study is to identify the foundations of the composer’s thinking on the example of the cycle “Engravings” for piano and an attempt to propose a method of “open” notation, as a different way of creation. The scientific novelty is that it offers a method of musical composition, which was obtained by the author through many years of working, namely – the method of “open” musical notation. Methodology focuses on such methods of contemporary cognitivism as: genealogical – identifying the causal links between the creation of the method of “open” notation; contextual and comparative – the study of forms of existence of non-identical types of composer’s thinking; compositional and semantics – the disclosure of the principles of the structure of works in the context of the poetics of creativity. Results and conclusions. The article attempts to theoretically substantiate the method of “open” musical notation, which was used to create the author’s last opuses –“Engravings” for piano (2021) and “The Three Dead Kings” for viola solo (2022). Each type of notation used in the circles is a universe with a unique hierarchical structure, the elements of which are subject to the laws created by the author. Compositional and semantics analysis of “Engravings” reveals the positions of the method. It is manifested in the use of atypical clefs/staffs, the logic and existence of which correspond to the general idea and concepts of each part separately.