Gothic notations were not a new notational type but a change to the surface appearance of traditional neume shapes. Something similar had happened with the establishment of square notation, but whereas there the pen was held parallel to the line, in gothic style it remained diagonal. The horizontal and in particular the vertical down-strokes are strongly marked, the diagonal up-strokes fine. Whereas elegant, curved shapes were still common in the 13th century, by the 15th century thick, often uninterrupted chains of geometrically regular strokes were used. The basic shapes, however, are those of the German and central European notations already established in the 12th and 13th centuries, with the variety already described above, at least at first. The number of types diminished with time. Cistercian notation and that of Bamberg (except for its distinctive clivis) were eventually assimilated into the regional types with which they coexisted. Klosterneuburg notation disappeared after the 14th century. But the Esztergom notation in Hungary, and the notations of Prague and Silesia retained their independence. The rest of Germany and central Europe used either the (west) German or the mixed Messine-(east) German type. The former predominated as before in the area from the Rhineland up to the Low Countries, the latter in eastern and southern Germany, Austria, Switzerland and Poland (the geographical boundaries have not been precisely determined).
Bent, Ian D., David W. Hughes, Robert C. Provine, Richard Rastall, Anne Kilmer, David Hiley, Janka Szendrei, Thomas B. Payne, Margaret Bent, and Geoffrey Chew. 2001 "Notation." Grove Music Online. January 20, 2001. Updated and revised July 1, 2014.
Example of Gothic notation, from D-FUl Aa 55, f. 3r: