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Considering the ability to modulate, why not refer to all chords as relative steps:
Here’s how major triads in their three inversions can be written. First you see the inversions of the 4:5:6 overtones, then the 9:11:14 overtone triads:
.maj3-u-a135 t+0 t+17 t+14
.maj3-u-a351 o-1t+17 t+14 t+22
.maj3-u-a513 o-1t+31 t+22 t+17
@
.maj3-u-b247 t+9 t+16 t+18 t+19
.maj3-u-b472 o-1t+25 t+18 t+19 t+16
.maj3-u-b724 o-1t+43 t+19 t+16 t+18
@
Then when you want to call a chord, just start it with the key like this:
t0&maj3-u-a3*.
This translates to Csound code for three notes at scales steps 17, 17+14=31, and 31+22 = 53, which translates to 0, the tonic.
More insect life as percussion from the Dry Spring.
