The purpose of this study is the exploration of pitch-height mapping via invented notations rendered by schoolchildren and adults with and without formal musical training, while they listen to a classical composition, characterised by pitch-height polarity. Subjects (N = 108) include first-graders, fourth-graders, undergraduate and graduate college music students, and PhD university non-musicians. During a 45-minutes session, each group listened to a piano work entitled 'Drum and Pipe' by Andre Hajdu, a contemporary Israeli composer. The piece consists of a vivid tune in the highest range and a steady accompaniment in the lowest register. Through self-invented notations, subjects were asked to visualise the music, which was performed live by the author, and to render information about their notations. During a second session subjects were asked to 'sonify' (decode) their notations on the piano. Data was analysed in terms of morphological, structural and conceptual indicators. Results reveal the effect of age and musical expertise on the ability to render pitch-height mapping. Yet a profusion of idiosyncratic pitch-height metaphors were conveyed by young and mature listeners alike, both with and without formal musical training. A cyclical encoding/decoding scheme is proposed for music education and the exploration of invented notation.