Too true Canonie from Oz,
I can read the MIDI format ... I call it by that name so that the folk don’t throw too many stones at me ... nobody likes a smart-alec ... as a fresh 26 year old architect visiting London (and working in the office of Sir Basil Spence - designer of the New Coventry Cathedral) I dreamt up the graphic format , using the Pathetique Sonata as first prototype ... 40 years later I am fortunate enough to be able to download, print and play some thousand transcribed keyboard masterpieces.
Here’s what you asked for ... MIDI of the opening 32 measures to the Beethoven sonata
Opus 111 ... I’ve just re-visited the gem at my Grotrian Steinweg and came all over goose-bumps ... images of stone-deaf Beethoven crashing those dramatic chords in the opening 4 measures ,,, and repeating the Theme higher at m5-8 (those racy arpeggio runs need some working on) ... then those glorious chiming converging chords from m9-16 ... ominously dropping the LH chord at m19 to maintain the meeting arms ... the chord at m21 drips with the finality of doom ... only to rumble into an even more macabre passage at 21-24 ... while m25-28 is positively ghoulish ending in a sepulchral pp trill.
You will notice on the graphic the six octaves of the keyboard ... divided by bold C lines ... pitch is accurately measured up and note duration across ... sharps and flats fall away by giving equal space to each of the 12 basic keyboard notes ... and numbering the notes
similar to the familiar 5 minute divisions on a clock face:
60 (C) 05, 10 (D) , 15, 20 (E) . 25 (F) , 30, 35 (G) , 40, 45 (A) , 50, 55 (B) , 60 (C)
After you’ve had your nervous breakdown ... you might like to chat some more ... it should be pointed out however, that the mind-set of the alphabetic notation makes change nigh impossible.
PS The success of the format lies in snap-reading the overall picture of the music ... where the individual notes merely articulate the shape... the grey areas represent compound sound (ie chords)