The evolution of traditional notation towards increased specificity and complexity has been expanding its role from the composer’s “brain in a vat” into an elastic interface dynamically amalgamated with instruments and performing bodies. In that sense, a Xenakis or Ferneyhough score is inviting interaction more than interpreta-tion, navigation more than understanding. At the same time, new technologies such as the ones for gesture capture and interactive notation are allowing for the materialisation of metaphors into actual multimodal notations. Along these lines, I will present a model of embodied interaction with complex piano notation (embodied navigation) and a prototype system for the gestural processing of musical scores (GesTCom -Gesture Cutting through Textual Complexity). The first approaches notation through concepts in the field of embodied cognition, the latter integrates views from NIME and CHI into a gesturally controlled interface for notation processing.