In OMN a pitch is written as a text symbol that combines a note’s lower-case letter name with its octave number. OMN uses the convention that c4 is ‘middle c’ , so numbered because of the note's position as the fourth C key on a standard 88-key piano keyboard. In fact the composer can go a little beyond the standard keyboard range because OMN takes in the MIDI range of 0 - 127 pitches.
'(c4 cs4 d4 ds4 e4 f4 fs4 g4 gs4 a4 as4 b4)
The sharp is written as an ’s’ symbol preceded by the letter of the diatonic pitch and then the octave number, thus cs4.
'(cs4 ds4 es4 fs4 gs4 as4 bs4)
The flat is written as an ’b’ symbol preceded by the letter of the diatonic pitch and then the octave number, thus db4.
'(cb4 db4 eb4 fb4 gb4 ab4 bb4)
'(c4 d4 e4 f4 g4 a4 b4)
In a diatonic C major scale where no chromatic notes exist the letter name and the octave number suffice. When transpositions are made using an algorithmic function the note spelling will often mix sharps and flats to seek the best compromise.
A. Berg, Wozzeck, Act 1, Scene 4
'(eb4 b4 g4 cs4 c4 fs4 e4 bb4 a4 f4 ab4 d4)
In a 12 Tone Row sharp and flat spellings are common. In OMN they can be freely mixed to enable intervallic analysis to be undertaken.
(pitch-to-interval '(eb4 b4 g4 cs4 c4 fs4 e4 bb4 a4 f4 ab4 d4)) => (8 -4 -6 -1 6 -2 6 -1 -4 3 -6)
Opusmodus can make conversions to and from interval sets.
A. Schönberg, Opus 28, Number 1
'(c4 e4 g4 cs4 a4 b4 f4 ds4 d4 fs4 gs4 as4)
This row is taken from Schoenberg’s Three Satires for mixed chorus. The song is directed at those exploiting tonal and atonal principles alike without being aware of origins or consequences. The text of the song 'Am Scheideweg' corresponds to a C-major triad which is worked into this twelve-tone row and the row’s chromatic spelling is chosen to make the vocal pitching of intervals easier.
To create a chord, individual pitches are brought together as a single entity.
'(q c4e4g4 e4g4c5 g4c5e5 c4e4a4 e4a4c5 a4c5e5)
The ordering of pitches within a chord grouping does not have to reflect ascending or descending patterns to be displayed correctly in notation. This means algorithmic constructions of chords can be freely undertaken.
'(q g2d3g3b3 a2c3fs3a3 b2d3g3)
As with individual pitches, chords adopt sharp or flat spellings as they occur in a list.
I. Strawinsky, Petruschka, 1911/21
'((s d5f5b5 f e5g5c6 e f5a5d6 s g5b5e6 f5a5d6 e5g5c6 d5f5b5) (e c5e5a5 c5e5a5 q d5f5b5 marc) (s d5f5b5 e5g5c6 f5a5d6 g5b5e6 e f5a5d6 s e5g5c6 d5f5b5) (e c5e5a5 c5e5a5 q d5f5b5 marc))
L. Janáček, In the Mists, 1914
'((t cs5 pp bs4 < cs5 < dn5 > cs5 > bn4 > gs4 es4 -s fermata) (t gs4 fss4 gs4 an4 gs4 fss4 en4 cs4 -s fermata))
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