Now that Kyle Gann has had his name encoded, perhaps I can provide a system to allow anyone to set their name in music:
A - G as is, except B is really Bb (blame the Germans).
H = B natural (again, those Krauts)
I = tonic triad (let's assume a generic C major)
J = Gb, if Jee is normal, Jay is flat.
K = B4 (1000 Hz approximately)
L = the Leading Tone Exchange of the previous chord, assuming a triad in the key of C if it was just a note (if it was a major triad drop the root of the chord by a step; if it was a minor triad raise the fifth by a step. So the C major triad would become an E minor triad, an A minor triad would become an F major triad).
N = Neapolitan chord (Db major in our chosen key)
P = the Parallel mode of the previous chord.
R = the Relative major/minor of the previous chord.
S = Eb (German Es) or the Subdominant chord (F major)
T = B natural ("Ti")
U = C ("Ut")
V = Dominant chord (G major)
W = C sharp (close to U)
Y = E major triad (Greek E, let's make it different)
I'm drawing a blank on the others. I think O could be from some European or Russian theory symbols, but not sure. Help me out, people.
Spiegelberg = F major (IV), F minor, C major, E, G, E (minor), C major, Bb, E (minor) G major, G
Starts ambivalently, but the chromatic line from A to Ab to G lends strength to the tonic chord, which is embellished with arpeggiation. A little neighbor motion in the bass (C - B - C) follows. Adding the Bb to the previous C major triad sounds like a V7/IV, but resolves like a German Augmented Sixth to the E minor triad (second inversion, natch), suggesting that the previous E minor triad was a foreshadowing of a modulation. However, the supposed cadential 6/4 in E minor is pulled back to the dominant of C, for an inconclusive ending.