Heres a notation that puts initials in place of noteheads. With the empry noteheads of whole notes and half notes the initial is bracketed.The white notes in this example are close to the conventions of the Mediteranean solfege but could be changed to ABC... or the Germanic AHC... with a menu choice . The black notes are using the names devised by psychacouatician Richard Parncutt and myself - Va Wu Xe Yu Ze- extending the beautiful contrasts of white note solfege. Xe can be pronouned as in Greek, like the
ch of the Scottish
Loch, and Ze can be pronounced as in Spain giving us
they .You may reognise this magical piece by a Northern Europen composer. Though we sing Do the old solfege name Ut is used as a stand-in so that there is no confusion with Transatlantic note name D, You will also notice that the Mediterranean note name Si has been fused with the Transatlantic Ti (the drink with jam and bread). The combination
TSi gives each white note a distinctive initial.

Don't recognise it? Go to the imagined menu and ask for ABC white notes as her below.The Transatlantics might feel more at home.
On the menu it might useful to offer the option to retain all the key signatures and accidentals, despite their being made redundant by using initials as noteheads, or to leave them out. People could then adjust the look to suit their needs at a particular time.
Upper case letters represent fixed notes while lower case notes represent scale members with ut (sung as doh) as the major tonic and la the minor tonic.Their roles are shown in these examples of introductory verses of songs from musical theatre that have become jazz standards. These may be useful as singers are always searching for their ideal key. After the verses the harmonies of the chorus are shown in the shorthand typically used by jazz musicians on the brilliant app iReal Pro which carries the chords seequences of thousands of tunes. When solfa is used for both melody and harmony the upward arrow head ^ is used to show that the note is not actually part of a melody but the root of a major chord. To illustrate, here are the typical primary triads in the major key u^ f^ s^ u^, and in the minor l- r- m^ l-. You will notice that tied notes carry no initials, as in bar 2.

And here's an example in the minor key. A coloured or slightly greyed stave can help the imitials stand out.

How great if this notation could be systematised so that it could easily convert piano music, chord symbols and lead sheets (to transposable fixed notes or lower case harmonic analysis). Possible? It cannot replace traditional notation but can coexist as a dialect for late starters and those foxed by the grammar of clefs, key signatures and accidentals. Sharps and flats are real experiences but we can leave them to the listener.
Bob