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The visual aspect also plays a part in his scores. The scores for many of the compositions have traditional notation, be they study scores for some of the tape pieces or as the usual player's instructions for the instrumental works. But most have graphic elements to a greater or lesser extent.

The instrumental piece Beach incorporates graphic notation as part of a more standard score. Olitsky, on the other hand, uses (near) traditional notation presented as an artwork. Four circular moveable acetate sheets hold the notes over a circular staff system – an approximate answer to the problem of notating the constantly phasing layers of the work.

The scores for some of the artist related pieces use photocopies of the artworks portrayed in the pieces. For Riley the paintings are simply presented in a row to show the inspiration for each musical change throughout the work. For the pieces Rauschenberg and Surface Quartet the artworks were, in part, more directly translated into sound. In Rauschenberg the photocopies are divided into four horizontal sections to show the source visual references for each of the four tracks of the tape. The score for Surface Quartet has the look of a more conventional graphic score but with descriptive images throughout. Based on a Rauschenberg silk-screen set, a reduced photocopy of each of the
artwork's 36 panels is depicted above the 'staves' in each of the 36 sections.

The piece Tinguely is inspired by and uses sounds from a large sound-sculpture by Jean Tinguely. The score uses painting, collage and inks upon the background of a photograph of the structure.

For Primarily Henry there is a graphic illustration created from the arrange page of the sequencer program used to produce the piece.

The score for Greetings from in front of a TV set II is a collage with graphics created from a colour-staggered photograph of a TV magazine advertisement.

The Hidden States score is an artwork using watercolour, collage and graphics, within which is a more traditional graphic score format. The staves for each of the sixteen tracks incorporate descriptive images for the sounds represented.

Nearly all of these graphic scores are descriptive, although for most of his works the compositional process starts with a visual image, real or imagined. Although new versions of the pieces could be realized from these scores, the intention was more to capture visually the sound of the music.