Soloing

README.md

@@ -97,6 +97,8 @@ Uncompressed MusicXML 3.1/4.0 scores exported from Soundslice or MuseScore live
 
 `data/scales` supplies the 21 C-centered modes of major, melodic minor, and harmonic minor. Build-time Python uses each song's actual melody, its mapped harmony, `data/sequences`, and `data/rhythms` to compose recognizable acoustic and electric variations. The standalone `data/lead_phrases` material is an audition control, not a production seed. No solo assignments are stored in song XML, and the runtime format is unchanged.
 
+The arrangement reuses six musical parts: acoustic accompaniment and solo; electric accompaniment, melody and solo; and vocal melody. Each guitar learns one accompaniment over the full form. Corresponding bars reuse identical rhythms, durations, pitches and TAB fingerings, including behind solos. Only authored harmony changes and protected pickup/ending boundaries create local exceptions.
+
 Source analysis retains complete sounding notes, rests, pickups and cross-bar holds. Production uses **thematic recomposition**: a short rhythm, contour, opening, or characteristic interval from the head initializes a new solo theme. Later phrases develop that realization through harmonic adaptation, extension, answers, or optional brief callbacks. Each instrument establishes a distinct related theme instead of restarting from the corresponding head phrase at every source boundary. Close paraphrase remains available through `composer.compose(..., mode='paraphrase')` for comparison.
 
 Treatment-specific contracts preserve the selected features only. Whole-source deviation applies to close paraphrase, including sounding durations; it does not penalize recomposition for changing unrelated notes. Before optional runs, realized pitch/time overlap and interval/rhythm fragments reject substantial near-copies (initial settings: 80% agreement across a two-bar window with at least four source attacks). Octave shifts, reattacks and extra attacks cannot dilute the duration comparison. Additional distance earns no bonus. The original source reference and the solo's realized theme remain separate in state and reports.
@@ -109,19 +111,21 @@ Destination retrieval retains representatives of the actual chord degrees before
 
 After selecting the strict acoustic/electric pair and its mapped runs, `solo/enclosures.py` compares sparse local ornaments with direct arrivals. The initial vocabulary is a mapped upper neighbor followed by a lower semitone neighbor, each an eighth note, then the exact preselected chord-tone target. The upper is at most three semitones above the target. The lower can already be mapped; chromatic status earns no extra reward. Each candidate replaces a continuously sounding beat before an existing intermediate stop or terminal hold, optionally revising a complete mapped route up to two beats earlier. Identifying features, protected quotations, rests, target timing and the whole required hold remain intact. No target is reattacked merely to make an ornament possible.
 
-Validation checks the complete sounded gesture, all crossed harmony/scale spans, exact pitch and octave, arrival and release, and actual preparation/resolution timing. Only the contracted lower event can receive an exception. Missing, changed, clipped or unresolved targets invalidate the entire gesture. Tied splits do not change classification. A small chorus frontier retains direct options, with at most one enclosure per phrase and four per 32 bars; sparse use is a soft preference, not a quota. The home theme and development history stay strict. Placement is resolved across the final solo, and backing responds to the decorated foreground. Build-time `enclosures_enabled=False` on compose/compose_pair/arrangement skips only this final pass; no runtime fields or performance expression are added.
+Validation checks the complete sounded gesture, all crossed harmony/scale spans, exact pitch and octave, arrival and release, and actual preparation/resolution timing. Only the contracted lower event can receive an exception. Missing, changed, clipped or unresolved targets invalidate the entire gesture. Tied splits do not change classification. A small chorus frontier retains direct options, with at most one enclosure per phrase and four per 32 bars; sparse use is a soft preference, not a quota. The home theme and development history stay strict. A previously sounding mapped upper neighbor may supply the final eighth-note approach segment without a new attack, but its complete duration still obeys ordinary sustained-note rules. Incidental repeated upper-neighbor attacks carry a local cost; deliberate repeated attacks remain available. Placement is resolved across the final solo; ornamentation never changes accompaniment. Build-time `enclosures_enabled=False` on compose/compose_pair/arrangement skips only this final pass; no runtime fields or performance expression are added.
 
 The plain recomposed theme is exported independently of optional runs. Activity retains a soft 4–6 attacks-per-four-beats preference; occupancy remains diagnostic. No accents, dynamics, swing or other performance-expression changes are applied.
 
 Search retains eight phrase alternatives and an eight-state chorus frontier, with two intermediate continuations per established theme. Up to 64 acoustic/electric pairs compete; equivalent themes after transposition are excluded while individual musical costs and pair similarity remain separate. Concrete caches include incoming state, harmony, timing and vocabulary. One bounded replan broadens eligible start and destination pitches. Exhaustion identifies the failed window without invoking a generic composer. Stable ordering and final tie-breaking preserve determinism.
 
-Phrase register alternatives cover the available F2–E5 sounding range. Placement uses all six strings, frets 1–12 without open notes, with a four-fret hand-position model and alternative endpoint fingerings. Movement costs use available time; they do not claim a maximum playable speed. Equal-cost tie-breaking has no first-string preference. Chords elsewhere retain their existing 1–12 anchor policy. The other guitarist is recomposed around the selected foreground, and the returning vocal pickup remains protected.
+Electric solos use strings 1–4 and favor roughly the electric melody's sounding register. Acoustic solos use strings 2–6 and favor about one octave below that melody. Both require frets 1–12 with no open notes. The register reference uses the original melody voice, excluding added chord voices, with a four-semitone median deadband and bounded preference; it is not a hard pitch corridor. Instrument profiles constrain pitch/anchor retrieval, complete routes, placement and validation, with cache keys separated by profile. Whole phrases can explore and return without a string-use quota. The four-fret hand-position model retains alternative endpoints and uses available time without claiming a maximum playable speed. Chords retain their existing 1–12 anchor policy, and the returning vocal pickup remains protected.
+
+A clear return refers to the introduced theme's stored opening signature (normally three to five attacks with rhythm/rests), rather than selecting a different later three-note turn. Freer development retains a smaller core. Bounded gesture revisions can reconnect editable isolated notes without changing pitch order, attack count, or required arrivals. Existing anchors distinguish local settling, cadential resolution and handoff; a local settle carries the next harmonic destination into subsequent selection. These distinctions affect the solo, never its accompaniment.
 
 Build reports in `generated_assets/analysis/` include selected source features, recurring solo themes, development lineage, anchors, complete routes, plain-versus-head and elaborated-versus-head comparisons, candidate diagnostics, destination degrees and complete enclosure contracts. Out-of-map approach notes are reported separately. Audition reports additionally show string use weighted by sounding duration and distinguish forced first-string notes from optional placements. These measurements establish technical behavior, not musical quality.
 
-For comparisons, preserve the previous `elaborated/snapshot.json` under `build/solo_melody_auditions/paraphrase_baseline/`, then run `./modulus.py python -m generator.solo.lead_audition --capture` and `--render`. Open `build/solo_melody_auditions/index.html` for the original source, previous close paraphrase, new theme and theme with runs, alone and with fixed backing. Full final mixes also use responsive accompaniment. Source controls preserve the imported melody and may expose original harmonic tensions; production variations must pass strict validation. The temporary reference archive remains ignored at `build/lead_melody_reference.zip`.
+For comparisons, preserve the previous `elaborated/snapshot.json` under `build/solo_melody_auditions/paraphrase_baseline/`, then run `./modulus.py python -m generator.solo.lead_audition --capture` and `--render`. Open `build/solo_melody_auditions/index.html` for the original source, previous close paraphrase, new theme and theme with runs, alone and with fixed backing. Historical mixes retain their original backing; new production uses canonical accompaniment. Source controls preserve the imported melody and may expose original harmonic tensions; production variations must pass strict validation. The temporary reference archive remains ignored at `build/lead_melody_reference.zip`.
 
-The current enclosure comparison is under `build/solo_enclosure_auditions/index.html`: previous production, the new selected strict solo, and that same solo with enclosures, with fixed backing and the final responsive arrangement. `before_enclosure` retains the complete pre-ornament realization, distinct from the plain theme before runs. To capture a new comparison, preserve the prior snapshot as `before/snapshot.json`, then run `./modulus.py python -m generator.solo.audition --output build/solo_enclosure_auditions --capture after` and `--render`. `--no-enclosures` provides a strict capture. These build artifacts are ignored by Git.
+The current comparison is under `build/solo_foreground_auditions/index.html`: preserved production, a whole-phrase register/string-only control, the new plain theme, the selected strict theme before rhythmic revision and enclosures, and the final solo. Fixed comparisons use the same canonical backing and neutral playback. Full, opening-eight-bar and closing-four-bar comparisons include notation and passage reports; full solos also have unaccompanied versions. `before_enclosure` retains the exact selected pre-ornament realization, and `before_rhythm` isolates the timing revision. Preserve a previous snapshot as `before/snapshot.json`, then run `./modulus.py python -m generator.solo.audition --output build/solo_foreground_auditions --capture after` and `--render`. `--no-enclosures` provides a strict capture. Artifacts remain ignored by Git. Older enclosure comparisons remain under `build/solo_enclosure_auditions/`.
 
 To inspect generated assets without building the full package, run:
 
@@ -138,7 +142,7 @@ Identical notation bodies share layout and body rasterization even when titles o
 
 The build-time pipeline is Soundslice/MuseScore -> `.xml` -> musical model and rhythm plans -> part generation -> JSON, engraved PNG pages, generated_tone audio, Pico title artwork, and a read-only catalog database. Sources in `data/songs/` retain the seven-section performance form. Songs generate Acoustic, Electric, and Vocal parts in their authored key, without key variants or a key-selection menu. Measure numbers run continuously across the complete arrangement, starting at 1 in the lead-in; they do not restart with a new section or chorus. Pickups occupy the preceding measure, and exported excerpts retain their arrangement measure labels.
 
-Accompaniment uses deterministic four-bar phrase cycles: a two-bar motif repeats with a one-beat variation in the fourth bar when a suitable candidate exists. Acoustic has independently planned bass and upper-chord rhythms, including simultaneous attacks, sharing one fixed playable voicing until the harmony changes within an arrangement iteration. Bass, upper voices, and TAB positions stay constant across rests, barlines, and repeated chord symbols. Any defined chord tone can serve as the bass; explicit slash basses and inversions remain authoritative. The rhythms combine into one notated voice with no ties: each attack releases by the next attack or barline, simultaneous tones share a stem and duration, and rests appear only when the entire part is silent. Held notes are not reattacked. Electric accompaniment targets about two attacks per 4/4 bar, scaled for other meters, favoring gaps around the foreground. Its notes retain the selected rhythm's duration without a one-beat cap, stopping at chord changes or barlines and reusing the corresponding melody passage's chord shape when available and scale-compatible. Both parts remain tie-free; clipped binary durations that need ties shorten to one conventional note followed by silence. Rhythm snippets supply attacks and rests; tied continuations do not create accompaniment attacks. Structured harmony supplies chord tones. N.C. and absent harmony remain silent. The seven-section form is unchanged; soloing guitars play single-note phrases without self-accompaniment. Unsupported accompaniment meters and mid-measure meter changes fail explicitly.
+Accompaniment uses deterministic four-bar phrase cycles: a two-bar motif repeats with a one-beat variation in the fourth bar when a suitable candidate exists. Acoustic has separately planned bass and upper-chord rhythms, including simultaneous attacks, sharing one fixed playable voicing until the harmony changes in the canonical form. That complete part repeats unchanged across arrangement iterations. Bass, upper voices, and TAB positions stay constant across rests, barlines, and repeated chord symbols. Any defined chord tone can serve as the bass; explicit slash basses and inversions remain authoritative. The rhythms combine into one notated voice with no ties: each attack releases by the next attack or barline, simultaneous tones share a stem and duration, and rests appear only when the entire part is silent. Held notes are not reattacked. Electric accompaniment targets about two attacks per 4/4 bar, scaled for other meters. The original song informs its one-time rhythm choice; generated solos do not alter it. Its notes retain the selected rhythm's duration without a one-beat cap, stopping at chord changes or barlines and reusing the corresponding melody passage's chord shape when available and scale-compatible. Both parts remain tie-free; clipped binary durations that need ties shorten to one conventional note followed by silence. Rhythm snippets supply attacks and rests; tied continuations do not create accompaniment attacks. Structured harmony supplies chord tones. N.C. and absent harmony remain silent. The seven-section form is unchanged; soloing guitars play single-note phrases without self-accompaniment. Unsupported accompaniment meters and mid-measure meter changes fail explicitly.
 
 There are no musical genre presets, genre defaults, or genre metadata. Obsolete `vamp:style` hints are rejected; visual styles, fonts, colors, and barline notation remain supported. Phrase cycles are written into the generated score and played once in reading order.
 
@@ -146,7 +150,7 @@ Guitar parts share standard tuning and chord-tone helpers but use separate acous
 
 All parts use two music systems per page, with a single system only when the score ends on an odd system. Lines break only between measures and share consistent staff/TAB widths. A measure that cannot fit at readable spacing fails with a diagnostic instead of being split. Tall notation is scaled uniformly to fit the two rows; guitar notation and TAB stay together and aligned. TAB displays frets and ties without duplicate rests; standard notation retains the complete rhythm. The generated `.pages/*.png` files are the same page images displayed by the product.
 
-Electric melody prioritizes four-string chords, then melody on top. Every generated guitar voicing requires the root, the actual fifth, or both somewhere in the voicing, not necessarily in the bass. Defining chord tones remain mandatory. Acoustic chooses four connected string-voice journeys independently for each arrangement iteration, minimizing total fret travel across harmonic spans. Upper strings stay fixed; bass movement counts both fret distance and one step for switching between strings 5 and 6. All bass inversions are eligible. There is no acoustic register, physical-reach, or shape-effort penalty beyond its hard fret constraints. Complete triads are preferred when feasible; doubling is allowed, authored omissions are never restored, and missing optional tones break equal-movement ties. Electric chord effort balances span and distinct frets against position-center movement, without an absolute fret-height penalty. Unharmonized melody placement retains its existing register and movement costs. This is a fretboard-feasibility approximation, not a finger-assignment model. Exact melody pitches and rhythms remain unchanged.
+Electric melody prioritizes four-string chords, then melody on top. Every generated guitar voicing requires the root, the actual fifth, or both somewhere in the voicing, not necessarily in the bass. Defining chord tones remain mandatory. Acoustic chooses four connected string-voice journeys once across the canonical form, minimizing total fret travel across harmonic spans, then reuses them in every accompaniment iteration. Upper strings stay fixed; bass movement counts both fret distance and one step for switching between strings 5 and 6. All bass inversions are eligible. There is no acoustic register, physical-reach, or shape-effort penalty beyond its hard fret constraints. Complete triads are preferred when feasible; doubling is allowed, authored omissions are never restored, and missing optional tones break equal-movement ties. Electric chord effort balances span and distinct frets against position-center movement, without an absolute fret-height penalty. Unharmonized melody placement retains its existing register and movement costs. This is a fretboard-feasibility approximation, not a finger-assignment model. Exact melody pitches and rhythms remain unchanged.
 
 Write all music in reading order: repeat bars, numbered endings, navigation jumps, and pass-specific ties are rejected. The seven-section performance arrangements remain fully written out. Chord labels use `M`, `m`, `aug`, `dim`, `sus`, and `mM7`, including explicit major triads such as `CM`. Recognized Soundslice text-only harmonies are normalized into structured chords; parenthesized chords mark optional turnarounds omitted from the final arrangement ending.