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2026-10-04 18:48:02 -05:00
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docs/composer/active_path_audit.md
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# Current active path
# Active solo path after the rewrite
Starting revision: `f234dd6`. Compact baseline: `build/solo_reference_comparison/previous/`; source/reference hashes: `preserved_inputs.json`.
The replaced entry path was `production.generate_role → composer.compose → leads.thematic_options → themes.phrase_candidates/unit_candidates → routes/gestures → realization.checked_phrase → scoring.musical`. The same modules retained paraphrase, draft, cell-search, join-refinement, and older scoring APIs. Source-derived feature contracts could preserve a long head rhythm before a new tune existed.
Current authorization permits studying the four supplied solos to identify reusable musical relationships. It does not permit production reads, stored reference phrases, target-loss selection or song-specific recipes. References remain unchanged.
The sole normal path is now `production.generate_role → composer.compose → construction.Builder → rhythm.Rhythms + routes.Routes → scoring.evaluate → placement.alternatives/place → composer.validate → notation/export`. There is no legacy mode, silent fallback, pair selector, or reference argument.
## Verified findings
| Finding | Stage | Repair |
| Finding | Before this rewrite | Resolution |
|---|---|---|
| Shape-changing expressions used an already realized provisional route | Construction | Plan timing, destination, hold/release and contracts before route realization |
| An approach could not resolve into an anticipated target | Validity/construction | Exact shared target and harmonic boundary; require both contracts |
| New on-time arrivals could lose their pitch during route filling | Construction | Fix selected arrival pitches and protect their sounding tails |
| Enclosures lacked a mapped whole-tone upper neighbor | Vocabulary | Two additional target-relative orders; actual collection membership required |
| Minor sixth always demanded immediate neighbor resolution | Policy | Bounded stable tonic/predominant color |
| Uniform eighth movement inherited a long-equal-value penalty | Retrieval | Eighth movement remains available without that penalty |
| Internal provisional holds excluded flowing alternatives | Construction | Subdivide a suitable internal span; preserve committed ending tails |
| Reference labels in technical fingering containers were missed | Presentation | Preserve verbatim label and original container |
| Repeated approach/rhythm/fret checks dominated new work | Performance | Fully keyed bounded caches; caller provenance restored |
| Multiple generations of musical construction coexist | Confirmed by callers/imports and legacy mode branch | Thirteen obsolete construction/helper modules removed |
| Mandatory source-feature influence | Confirmed in theme seed and feature-prefix construction | New melody is independent of head rhythm; head references are optional actions |
| Final scorer overwritten / density omitted | Already repaired in the preceding active path; not reproduced as a current defect | Old duplicate evaluators retired; one completed-phrase evaluator |
| Broad score often leaves fingering as decisive term | Observed in saved selected/alternative reports | No fingering term in musical selection; whole-melody placement runs after selection |
| Expression only added after strict selection | Already partly repaired by joint-arrival proposals | All retained production expression construction now precedes route selection; post-passes removed |
| Bar/cell ends act as mandatory cadences | Older paths contained such requirements; active path had some open behavior | No cells/plans/drafts with competing ending semantics; only actual phrase destinations |
| Rhythm packets do not establish a recurring idea | Constructor selected separate short material repeatedly | Repeat a whole rhythm group before reshaping it; never slice tuplets |
| Fixed ending/return counts | Historical settings remained | Those settings and scorers removed; no target counts |
The older score overwrite, inert density term, absolute-onset rhythm proxy, string bans and generated-part dependencies were already repaired before this revision. They are not claimed as new work.
Search limits are construction budgets, not musical quotas: 32 proposals per state, eight diverse finalists, two endpoint fingerings per melody, four candidates considered with one-phrase lookahead, one additional planning batch if the first yields nothing. A whole-solo hand-position pass resolves transitions without changing notes.
## Production call graph
`generator → arrange.generate → production.generate_tree → generate_role → composer.compose → leads.thematic_options → themes.phrase_candidates → themes.unit_candidates → gestures.select / routes.candidates → checked_phrase / scoring.musical → independent winner → notation → assembly`.
Source-feature retrieval covers the original head. A realized home theme guides later development. Meter-specific rhythms and general grammar supply alternatives. Four selected timing templates can request joint gestures; the total route-job budget remains 16. Complete planned routes keep eight intermediate representatives. Ordinary routes retain sequence-catalog and chord-traversal support. Bounded join/timing/local-decoration revisions preserve contracts.
`selection_trace.operations` reports operation eligibility, proposals, validity and pruning. `joint_gestures` separately reports structural proposals, retained jobs, valid routes and retained units. Counts do not imply a selected use.
Canonical accompaniment remains source-only and independent. Explicit legacy paraphrase/cell APIs remain compatibility/test paths, without production fallback. Unused historical audition controllers were removed.
Shared source analysis contains imported sounding events, tempo and exact measure boundaries. It does not extract compulsory head motifs or source phrase segmentation. Both roles receive the same physical domain and independent deterministic decision streams.
docs/composer/commands.md
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-m generator --data-dir data --output-dir build/solo_reference_comparison/.staging --static-assets-dir package/assets --check --jobs 2 --composition-jobs 2 --composition-cache build/build_common/composition_cache --engraving-cache build/build_common/engraving_cache --export-solo-xml --trace-level full --profile-output build/solo_reference_comparison/build-profile.json --progress
```
Publish normally with `cmake --build build/build_x86_debug --target vamp_generated_assets -j2`. Copy completed `generated_assets/solo_xml/` into `build/solo_reference_comparison/generated/` for the comparison.
Publish normally with `cmake --build build/build_x86_debug --target vamp_generated_assets -j2`. Preserve the previous completed exports under `build/solo_reference_comparison/previous/solo_xml/` before replacing assets. Copy the checked stage's `solo_xml/` into `build/solo_reference_comparison/generated/` to retain full decision reports, and verify its musical/XML equality with normal publication.
```sh
-m audition.solo_compare --generated-dir build/solo_reference_comparison/generated --reference all_of_me/acoustic=build/all-of-me-solo-1.xml --reference all_of_me/electric=build/all-of-me-solo-2.xml --reference autumn_leaves/acoustic=build/autumn-leaves-solo-1.xml --reference autumn_leaves/electric=build/autumn-leaves-solo-2.xml --form-start autumn_leaves/acoustic=2 --form-start autumn_leaves/electric=2 --form-start all_of_me/acoustic=1 --form-start all_of_me/electric=1 --reference-pitch guitar-written --assets build/build_x86_debug/generated_assets --output build/solo_reference_comparison
-m audition.solo_compare --generated-dir build/solo_reference_comparison/generated --baseline-dir build/solo_reference_comparison/previous/solo_xml --reference all_of_me/acoustic=build/all-of-me-solo-1.xml --reference all_of_me/electric=build/all-of-me-solo-2.xml --reference autumn_leaves/acoustic=build/autumn-leaves-solo-1.xml --reference autumn_leaves/electric=build/autumn-leaves-solo-2.xml --form-start autumn_leaves/acoustic=2 --form-start autumn_leaves/electric=2 --form-start all_of_me/acoustic=1 --form-start all_of_me/electric=1 --reference-pitch guitar-written --assets build/build_x86_debug/generated_assets --output build/solo_reference_comparison
```
Full relationship/rule review:
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```sh
-m unittest discover -s tests -p 'test_*.py'
-m audition.dependency_check --output build/solo_reference_comparison/dependency
-m audition.transfer_review --output build/solo_reference_comparison/transfer
```
Individual-role generation remains `-m generator.compose --song ... --role acoustic_solo --data-dir data --cache-dir ... --output ... --solo-xml ...`. No other part is generated as a musical input. The one comparison folder is downstream and disposable.
docs/composer/data_migration.md
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# Data and cleanup inventory
# Musical data and code migration
Rules were authored as transposable theory relationships under the repository license. Inspection of the four solos motivated the repair; provenance states that openly. No reference phrases, bar recipes, fingerprints, aggregate distributions or fitted weights were stored.
No target XML, target-derived phrase, timing distribution, fitted weight or lookup by song title was added to production. The four references motivated qualitative musical requirements; the new rules are independently authored general operators. Existing sources and accompaniment resources are unchanged.
| Resource | Action | Live consumer |
| Resource | Action | Live consumer / reason |
|---|---|---|
| `data/songs/*.xml` | Keep both unchanged | Original source analysis |
| `data/scales/` | Keep 21 patterns | Mapper / ordinary permission |
| `data/sequences/` | Keep 2,954 paths | Complete relative routes |
| `data/rhythms/` | Keep 3,538 meter-specific snippets | Rhythm retrieval |
| `composition/rhythms.json` | Keep nine melodic cells/six comping figures | Themes and canonical accompaniment |
| `composition/melodic_vocabulary.json` | Keep eleven cells/four traversals; extend two traversal prefix lengths | Chord-route construction |
| Same | Add two joint gesture rules and internal subdivision policy | `gestures.proposals`, `themes.patterns` |
| `composition/lead_ins.json` | Seven formulas become nine; keep two blues rules | Construction and typed validation |
| `composition/harmony.json` | Keep eleven colors; minor sixth gains bounded stable use | Harmonic validator and construction |
| `composition/grammar.json`, `roles.json` | Keep | Evaluation, development and independent role preferences |
| `data/expected/` | Keep validation-only | Compatibility checks |
| Four supplied `build/*-solo-1/2.xml` | Keep untouched | Explicit optional review |
| `audition/theory_review.py` | Add | Full event/relationship analysis against original source |
| `audition/reference_review.py` | Extend note label evidence | Preserve raw label containers |
| `audition/controls/original_lead_theme.json` | Remove | Superseded unused audition control |
| `audition/production_review.py`, `release_evidence.py` | Remove | Historical multi-experiment exporters |
| `generator/solo/audition.py`, `lead_audition.py` | Remove | Historical unused audition entry points |
| Old generated experiment trees/logs | Remove | 1.82 GiB initially; exact paths/bytes in cleanup manifest |
| `data/songs/` | Keep unchanged | Canonical source harmony, form and optional head material |
| `data/scales/` | Keep 21 patterns | Existing scale mapper and full-duration permission |
| `data/sequences/` | Keep 2,954 paths | Exact degree-step vocabulary and endpoint-indexed short routes; no uniform sampling |
| `data/rhythms/` | Keep 3,538 snippets | Meter-indexed representatives; file counts do not determine stylistic frequency |
| `composition/rhythms.json` | Keep unchanged | Existing nine melodic cells remain consumed; six comping figures and accompaniment seed content preserved |
| `composition/melodic_vocabulary.json` | Migrate then remove | Eleven useful cells move to `solo.json`; prefix traversal/repair operators superseded |
| `composition/grammar.json` | Remove | Old feature-preservation/development and scoring contracts no longer construct music |
| `composition/solo.json` | Add, schema 1 | Parameterized phrase actions, nine atomic rhythm groups, arrivals, rests, contour alternatives, evaluation and deterministic search budgets |
| `composition/harmony.json`, `lead_ins.json` | Keep | Typed colors, suspensions, anticipations, approaches, enclosures and blues validation |
| `composition/roles.json` | Replace solo fields only | Action preferences replace compulsory source-feature preferences; accompaniment fields untouched |
| `data/expected/` | Keep validation-only | Existing arrangement compatibility checks |
| Four supplied XML files under `build/` | Keep untouched | Explicit optional comparison only |
Schema 1 gains required gesture fields checked by the loader. Composition version: `joint-arrivals-2`. Runtime score/notation schemas are unchanged. No accompaniment vocabulary or role policy changed. Independent positive/negative tests do not read targets. Optional transfer fixtures remain outside production data.
Removed composer modules: drafts, enclosures (old post-pass), features, gesture_rhythm, gestures (old repair proposals), leads, motifs, phrasing, planning, realization, references (feature scoring), similarity and themes. Their useful harmonic/event/placement semantics remain in the shared validators and event types, not in a hidden alternate composer.
Tests tied to the removed plan/draft/paraphrase APIs were retired. Independent timing, chord-role, suspended-note, expression, placement, isolation and export tests were retained or migrated. `test_phrase_composer.py` covers the replacement through its actual constructor. Removed tests are not counted as passing tests.
New material uses the repository MIT license and explicit provenance. No source songs, scale families, physical restrictions or runtime score schemas changed. Diagnostic reports deliberately move to `composer-report-3`; no draft/refinement stages are fabricated for the new path.
docs/composer/dependency_proof.md
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# Independent inputs
# Reproducibility boundary
The preserved contract is `original source + relevant data + own role/settings + algorithm → part`. Six roles use a bounded spawn-process pool, normally two workers. No pairwise selection, generated-solo-responsive comping or other-role grip reuse exists in the active path.
Production consumes canonical original source content, role-specific settings, versioned production resources and the semantic algorithm version `phrase-composer-1`. Titles, paths, target presence, requested-role order and process completion order are not musical inputs.
The scoped `input_audit.composition` guard checks actual reads. References, previous output and other-role concrete caches are prohibited composition inputs. Source analysis is supplied explicitly; assembly/rendering legitimately consume finished roles afterward.
The composition audit records actual reads and rejects reads outside production data, generator code, Python runtime and the current role's correctly keyed cache. Optional reference readers run only after generation. The four target files remain untouched and their hashes are recorded with the comparison baseline.
New per-Harmony caches include exact timing/pitches/roles, continuation, profile, fixed endpoints, obligations and ending constraints. Only caller IDs/provenance are normalized for reuse, then restored. Focused tests compare uncached/cached proposals and complete routes. Pure rhythm validity and fret-position feasibility use bounded memoization.
No solo or accompaniment generator reads another selected part. Accompaniment remains the existing canonical source-derived part, including during the other guitar's solo. Assembly only applies source-defined participation windows. Source melody/vocal output is unchanged by this rewrite.
The optional dependency command tests all six roles alone, reversed, cold/warm, in two processes, with invalid targets present/deleted, and after an electric-only setting change. Actual reads and document hashes accompany equality assertions. This is a one-bar independent fixture with real catalogs, not a whole-song quality test.
Verification artifacts under `build/solo_reference_comparison/` record:
Current evidence lives in `build/solo_reference_comparison/dependency/`. The implementation report lists actual completed checks. Full output traces live in `generated_assets/analysis/*.roles`.
- Synthetic source: standalone/reversed/parallel roles, target presence/removal, cold/warm caches, role-only settings and observed reads.
- Full production songs: canonical document hashes, selected-note/XML/TAB correspondence, reference/source hashes and comparison to the previous eight non-solo roles.
- Independent source excerpts: legitimately sourced evaluation material outside production data; no reference-derived source harmony.
References informed general rule reasoning under the current authorization, but production never reads them. A deletion test cannot detect an embedded phrase bank; provenance and the small explicit resource diff supply that separate check.
Musical document equality excludes incidental timing diagnostics. Warm results must match clean regeneration. Provenance review of new data is separate from deletion tests: output equality alone would not prove that target-derived material had never been embedded.
docs/composer/evaluation_contract.md
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# Evaluation and validity
# One musical evaluator
The active final selector remains `scoring.musical` / `MusicalEvaluation`, version `joint-musical-1`. Each phrase score is its evaluation total; the complete solo uses duration-weighted completed phrase evaluations. This revision changes construction coverage, not the final weights.
`scoring.evaluate` returns `Evaluation(version='phrase-musical-1')`: validity, raw values, enabled weights, weighted contributions, total, and exact-event normalization counts. The selected phrase score is exactly its reported total. Selection additionally reports the bounded next-phrase total; it is not disguised as the local score.
| Component | Weight |
|---|---:|
| Rhythmic grouping/interruptions | 3 |
| Destination preparation | 2 |
| Harmonic exposure | 2 |
| Soft register preference | 1 |
| Contextual repetition | 1 |
| Activity | 1 |
| Approximate playing difficulty | 0.5 |
Lookahead averages the current normalized phrase score and the best feasible following phrase score. Candidate phrases can have different durations. This is a bounded, variable-horizon heuristic, not equal-duration whole-chorus optimization or a proven remaining-cost bound. Both local and lookahead totals appear in the decision trace so this limitation is inspectable.
Reports expose raw values, denominators, weights, contributions, total and validity. Identity, expression completion, physical domain and protected holds are hard contracts, not duplicate resemblance costs. Early retrieval estimates remain separate.
| Contribution | Weight | Interpretation |
|---|---:|---|
| Purpose | 2 | Unprepared large motion, repeated oscillation and preparation of the chosen destination |
| Continuity | 2 | Incoming musical connection beyond a comfortable interval |
| Repetition | 1 | Recent complete rhythmic/interval figure overuse; deliberate return receives bounded allowance |
| Register | 1 | Duration-normalized excursions beyond the role's broad comfortable region |
Planned arrival spans have arrival activity semantics; they need no attack on every held beat. Silence cannot exploit a missing register value. Ties merge before harmonic duration/attack evaluation; repeated attacks cannot fulfill a hold.
These are contextual preferences, not a perceptual memorability model. Broad acceptability can produce equal musical totals. A stable role-specific choice key breaks those ties. Guitar travel is absent from this total: it chooses a fingering for the selected music rather than giving an easier but otherwise unrelated tune an automatic advantage.
Joint arrival/color/approach candidates exist before route search. An approach into future harmony requires the exact shared anticipation target. Mapped upper neighbors must actually belong to the collection. The stable minor-sixth policy is bounded by harmony/function/duration and does not legalize unrelated notes.
Harmonic validity, complete typed resolutions, exact duration, promised held destinations, rhythmic-group integrity, physical range and arrangement allocation are checked independently. Approved expression has no generic chromatic penalty or reward. Active empty candidates cannot pass; explicit no-harmony space can.
Selected ordinary arrival pitches and tails are also protected through refinement; ordinary computational endpoints remain provisional. Disabling expressions removes joint expression proposals and local ornaments and may choose another valid complete phrase. It does not mean deleting exceptional notes from a winner.
Rests are constructed within groups, at entrances, or after destinations. There is no global attack-density/occupancy optimization. Holds count as one sounding event, regardless of tied notation fragments. A repeated attack does not fulfill a single committed sustain.
Reference recognition, proposed candidate, validity, retention, selected use and exact event matching are reported separately. The optional comparison has no scoring-return channel. Exact agreement is not a production loss function.
Ordinary phrase endpoints may be mapped non-chord tones when the phrase remains open. Local settling, completion and handoff have actual timed destinations. Expression disabling reconstructs valid strict phrases; it does not delete notes from a chromatic winner.
docs/composer/implementation_report.md
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# Reference-focused composer repair
# Complete-phrase solo rewrite
Starting revision: `f234dd6`. The goal of this revision is to make the active composer construct the musical relationships seen in the four supplied solos, using general rules and original song inputs. It does not import their notes or optimize candidate similarity to them. Exact reconstruction from general theory alone is not claimed.
Starting revision: `68df7292ee85918a0cdbd0965139ccb2ceecb130`. This revision replaces the active solo constructor. Source import, harmony, exact timing, typed expression validation, independent roles, guitar placement, notation, playback and atomic asset publication remain in use.
## Actual changes
The selected direction is a new melody over the source changes, with optional head references. The source head no longer supplies a compulsory rhythmic prefix or protected initial hold. The four supplied solos remain outside production and unchanged; exact reproduction or listener preference is not claimed.
The active `themes → gestures → routes` path now chooses harmonic arrival timing, target pitch, sounding duration and release before pitch realization. It can construct an approach into an anticipated chord-tone target with both obligations present. Color destinations are available before route filling. Several compatible treatments can survive within one phrase; the local decoration stage preserves existing contracts instead of replacing them.
## Construction and simplification
On-time/delayed arrival pitches and their uninterrupted tails remain fixed through route filling and refinement. Other cell endings stay provisional. Internal long values can be reopened into eighth-note motion where the selected thematic contract permits it; exact rhythm identities and committed closing holds remain protected. Four-member chord traversals are available alongside the existing mapped paths.
The normal path is `production.generate_role → composer.compose → construction.Builder → rhythm.Rhythms/routes.Routes → scoring.evaluate → placement → validation → notation/export`.
Two general enclosure formulas use an actually mapped whole-tone upper neighbor. A natural sixth on tonic/predominant minor harmony can be a bounded stable color rather than always requiring immediate neighbor resolution. These rules retain written harmony, omissions, scale restrictions on ordinary notes and physical validation. No new scale families or performance effects were added.
Each proposal chooses a phrase purpose, rhythm groups, direction, harmonic destination, arrival timing, sounding duration and optional treatment together. Complete pitch paths realize those choices. Open continuations need no chord-tone stop; settling, completion and handoff have actual destination contracts. Anticipations, approaches, enclosures, connections, colors, blues treatments and prepared suspensions enter before route selection and must validate as complete relationships.
Reference inspection now includes every one of the 514 sounding events across the four complete scores. Original labels in technical-fingering and other-notation containers are retained. The review checks recognized treatments against **original source harmony**, preserves missing initial harmony, and keeps hypotheses separate from validated rules. Remaining unexplained events are reported instead of automatically authorized.
An introduced realized phrase supplies the home idea. Development, answer, deliberate return and optional head reference are distinct reachable actions. A return protects a short heard rhythm and directional signature with harmonic adaptation; ordinary phrases have no compulsory three-note prefix. This signature is not a perceptual guarantee of recognition.
## One comparison location
One versioned evaluator reports purpose, incoming continuity, contextual repetition and broad register costs. Physical travel selects fingering, not the winning tune. One-phrase lookahead averages normalized completed-phrase scores across variable durations; it remains a bounded heuristic, not a whole-chorus optimum. Route construction has its own explicitly separate heuristic.
`build/solo_reference_comparison/` contains the compact previous four XMLs/manifest, current output, full reference comparison/audio, complete theory review and verification logs. Start with `index.html`; `analysis/theory.md` supplies the all-event analysis. Solo 1 means acoustic; Solo 2 means electric.
The solo package decreases from **6,232 to 1,729 Python lines**, and from 30 to 19 modules. Thirteen obsolete constructors/helpers were removed and two focused modules added. Old plan/draft/paraphrase API tests were retired; retained musical and representation contracts were migrated. Removed tests are not counted as passing tests. No legacy production fallback remains.
The references are `build/all-of-me-solo-1.xml`, `all-of-me-solo-2.xml`, `autumn-leaves-solo-1.xml`, and `autumn-leaves-solo-2.xml`. Source songs remain authoritative in `data/songs/`. All six input hashes were recorded before work. The optional adapter applies the separately confirmed guitar-written minus-one-octave convention; production import is unchanged. Autumn Leaves aligns at measure 2 / first Gm7 and retains the preceding measure. Four Autumn electric reference events conflict with the production vocal cutoff; neither input is rewritten.
## Inputs and data
Cleanup removed 1.82 GiB of obsolete generated comparison trees/logs and five superseded tracked audition files. Exact removed paths and sizes are recorded in `cleanup.json`. Build toolchains, reusable composition/engraving caches, source songs and the four references were preserved. The old multi-experiment documentation was replaced with current commands and contracts.
The 21 scales, 2,954 sequence paths and 3,538 rhythm snippets remain intact. `solo.json` contains independently authored parameterized actions, nine atomic rhythm groups and migrated authored cells. `grammar.json` and `melodic_vocabulary.json` were retired after their consumers migrated. Accompaniment fields and resources were not changed.
## Evidence and boundaries
References: `build/all-of-me-solo-1.xml`, `all-of-me-solo-2.xml`, `autumn-leaves-solo-1.xml`, `autumn-leaves-solo-2.xml`. Solo 1 maps to acoustic; Solo 2 to electric. The optional reader applies the confirmed guitar-written octave convention and preserves raw evidence. Autumn Leaves aligns at the first Gm7 in reference measure 2; its preceding measure remains in the comparison. Four Autumn electric reference events extend beyond the source-defined vocal allocation. Neither the target nor the vocal timing is changed to force equality.
- [Active path and verified defects](active_path_audit.md)
- [Resource provenance, consumers and cleanup](data_migration.md)
- [Authoritative evaluation](evaluation_contract.md)
- [Musical capability and limits](musical_capability_matrix.md)
- [Independent input contract](dependency_proof.md)
All six strings remain available on frets 1–12 without open strings. Ties retain one sounding event and one position. No performance-expression changes were introduced. The existing independently generated accompaniment, electric melody and vocals are intentionally preserved by this solo rewrite.
## Verification and review
The final Python command was the repository Python runner followed by `-m unittest discover -s tests -p 'test_*.py'`: **435 tests passed in 218.783 seconds**. During implementation, repeat-build tests caught profiling timings leaking into stable diagnostics. Timings now live only in the separate build profile; the final suite includes those repeat-build checks. Earlier interrupted/stale-import runs are not counted as passing verification.
The explicit dependency command passed all six roles on independently authored input: alone/cold, reverse/warm, parallel/cold, invalid optional targets present, targets removed, and after an electric-only setting change. Actual reads and canonical document hashes are retained. This synthetic test is not a whole-song quality assessment.
The optional transfer command passed all 18 role builds on evaluation-only four-bar excerpts from After You've Gone, Hindustan and Indiana. Their provenance remains under `tests/evaluation_sources/`. This demonstrates limited transfer; it does not establish arbitrary meter, form or chord support.
The comparison page includes full generated, previous and reference solo audio, common-backing mixes and opening excerpts. The same neutral renderer and constant comparison gains are used. Comparison reads happen only after generation. No ear-based audition or listener approval is claimed.
## Evidence locations
- [Active path and findings](active_path_audit.md)
- [Resource/code migration and provenance](data_migration.md)
- [Evaluation contract and search limitation](evaluation_contract.md)
- [Capability matrix](musical_capability_matrix.md)
- [Independent-input verification](dependency_proof.md)
- [Reproduction commands](commands.md)
The six-role independent-input exercise passed with real catalogs: standalone, reversed, cold/warm, two-process, optional targets present/deleted, and after an electric-only setting change. Current hashes and actual read traces are in `dependency/dependency.json`. New proposal and route cache tests compare actual uncached/cached results and caller provenance. This does not establish perceptual quality.
`build/solo_reference_comparison/` is the sole comparison location. `previous/` retains the immediate pre-rewrite output and input hashes; `generated/` contains the replacement. The complete operation/pruning trace and local/next-phrase evaluations are in the manifest. `analysis/selected_phrases.md` provides readable selected events, destinations, holds, expression evidence and alternative scores.
The final score weights were preserved. Construction coverage is reported separately from selection under `selection_trace.joint_gestures`. A supported relationship may never be selected; matching a reference attack is a different fact again. Complete per-phrase evaluation totals remain inspectable.
## Remaining boundaries
The first diagnostic profile exposed repeated approach/rhythm/fretboard work. Bounded caches now reuse exact immutable constraints and restore each caller's provenance. No search beam was widened and no machine-speed timeout selects music. Full build costs and final test outcomes are recorded below; concurrent checks are not treated as an isolated benchmark.
The reference solos are outside-review examples, not a numerical loss. The replacement output remains new music, not those four scores. Counts and matching attacks do not establish greater musical quality.
This remains a bounded rule-based composer. Some expressive reference relationships are unsupported or not recognized by the conservative optional parser; this is not proof those notes are musically wrong. Guitar placement is a legal-path check, not full ergonomic certification. No ear-based audition or listener approval is claimed.
The search retains a small frontier and limited lookahead. It can choose another complete phrase, but does not perform arbitrary two-sided revision of committed music. Some exact thematic returns may still sound too weak; the selected rhythm and contour contract is less strict than exact intervals. Acceptable candidates can share a zero musical penalty, leaving the stable role key to break ties.
## Completed checks
Unsupported written harmony produces an explicit diagnostic. Optional expression rules do not repair ambiguous source chords or authorize arbitrary chromatic notes. Legal TAB and coarse tempo limits are not full biomechanical certification. The next useful listening check is the four complete comparisons: whether their openings establish memorable ideas and whether later returns remain recognizable through the freer continuations.
- Full Python suite: **576 tests passed in 1700.428s**. Command: repository Python runner plus `-m unittest discover -s tests -p 'test_*.py'`; full log in `build/solo_reference_comparison/tests.log`. This overlapped the full production build.
- Focused joint-arrival/evaluator/comparison tests: **33 passed**; eight comparison-adapter tests also passed after the presentation update.
- Six-role real-catalog dependency exercise: **passed**, including two spawned processes and reference presence/absence; evidence in `dependency/dependency.json`.
- `git diff --check`: passed at the pre-publication checkpoint.
## Published assets and measured cost
The comparison table aggregates timing-only retained-unit labels (such as diminution) into their direct construction family. The manifest preserves the original raw diagnostic labels. This reporting normalization does not select or edit music.
Full assets are published at `build/build_x86_debug/generated_assets/`; the four exported solos are in `solo_xml/`. All twelve musical role documents match between cold staged generation and cached publication. The eight non-solo documents are exactly equal to the preserved baseline. Every exported solo sounding event and TAB position matches the selected stream. All committed holds and typed harmonic contracts passed validation. All six source/reference file hashes are unchanged.
## Published results and comparison
| Solo | New attacks | Sounding MIDI range | Occupancy |
|---|---:|---|---:|
| all_of_me/acoustic | 117 | 47–67 | 0.781 |
| all_of_me/electric | 139 | 52–72 | 0.824 |
| autumn_leaves/acoustic | 153 | 47–67 | 0.859 |
| autumn_leaves/electric | 109 | 52–70 | 0.732 |
Normal production assets are published at `build/build_x86_debug/generated_assets/`. The four MusicXML exports in its `solo_xml/` directory are byte-identical to the copies in `build/solo_reference_comparison/generated/`.
These descriptive measurements are not targets or proof of musical improvement. None of the four generated solos exactly matches its reference. All four normalized references have legal pitch/position paths within the existing guitar constraints; the Autumn electric vocal-allocation conflict remains explicit.
| Solo | New attacks | Sounding MIDI range | Exact matching reference attacks | Differing onset positions |
|---|---:|---|---:|---:|
| All of Me acoustic | 104 | 50–69 | 1 | 186 |
| All of Me electric | 100 | 51–67 | 3 | 187 |
| Autumn Leaves acoustic | 106 | 43–62 | 3 | 182 |
| Autumn Leaves electric | 97 | 55–70 | 2 | 170 |
The native integration test `ctest --test-dir build/build_x86_debug -R '^product_vamp$' --output-on-failure` passed in **30.45 seconds**, with required localhost access. The optional comparison adapter suite passed **8 tests in 0.018 seconds** after the audio-directory update. All **36 comparison WAVs** passed PCM clipping checks, and all **50 page links** resolved. The signal review is not an ear-based audition.
**None is an exact reference match.** These counts are descriptive, not evidence that the new music is closer perceptually. The earlier outputs had 0/3/0/1 exact matching attacks and 202/191/179/182 differing onset positions respectively. Different attack counts change these comparisons; they must not become a production optimization target.
The isolated final staged asset build took **107.15 seconds** wall time, including **91.31 seconds** in the performance-part stage. All twelve role caches missed. Two composition workers ran in separate processes; no tests or audition rendering overlapped. Engraving was warm and reused all six scores. The **27.57-second** normal CMake publication reused all twelve role caches and six engraving results.
The new winners contain 9/12/13/13 validated expressive contracts respectively. All of Me electric selects one anticipation; the other three winners select none. Early-arrival candidates are constructed, validate and survive pruning in the traces, so their infrequent final selection is now visible separately from lack of capability. No quota was imposed to conceal that result.
| Cold solo role | Role seconds | Construction seconds | Route seconds |
|---|---:|---:|---:|
| all-of-me/electric_solo | 40.82 | 26.27 | 21.47 |
| all-of-me/acoustic_solo | 44.38 | 29.96 | 24.90 |
| autumn_leaves/electric_solo | 35.56 | 33.09 | 28.31 |
| autumn_leaves/acoustic_solo | 44.04 | 41.71 | 35.80 |
All of Me acoustic contains a complete ascending A3–A#3–B3 connection at beats 12–13, and a mapped A3–F#3 approach to G3 at 64–65. All of Me electric sustains B3 as a valid minor ninth over its Am7 context at beats 28–31. These are selected events, not inserted examples or borrowed reference notes. `analysis/selected_phrases.md` records actual themes, full opening rhythms, every selected treatment, hold completion and alternative score breakdowns. Alternatives shown over equal spans are not falsely presented as the complete solo's globally ranked runners-up.
Worker times overlap. Role time includes resource setup, notation and validation beyond construction. Route time is included in construction, not an additional cost. Hardware/process evidence: 12 logical CPUs, Linux x86-64, repository Python 3.13; `build-profile.json` contains actual reads, worker settings and stage times. The first worker use still spends time loading the full catalogs. Route search remains the dominant construction cost.
The first All of Me acoustic theme still begins with a 4.5-beat source-derived rhythmic hold. This and the small number of selected anticipations demonstrate remaining distance from the supplied examples' phrase construction. The next narrow investigation is the interaction between retained source-rhythm contracts and complete-phrase selection: inspect valid arrival alternatives that lose, and source features that prevent editing a provisional opening. Do not respond by adding an enclosure quota, changing accompaniment, fitting reference counts or claiming that more vocabulary alone solved the problem.
An isolated one-process All of Me acoustic build took **39.80 seconds** without cProfile. The diagnostic run before the performance-only optimization took 163.09 seconds **with cProfile enabled**, so those times are not a valid speedup ratio. Profiling exposed repeated pitch hashing/stringification and harmony lookups. Memoization and hoisted identical calculations preserved the complete musical document hash `2b6b35011e353d166d287a8bfff6074723e62559b5e64ff978084623e1520e67`, also matching final production. The rewrite changes music and search structure; its timing is not presented as a semantics-preserving speedup over the old composer.
## Final verification
- All **12 role documents** agree between the cold staged build and the warm normal publication, including notes, timing and TAB. Evidence: `verification.json`.
- All eight non-solo role documents (accompaniment, electric source melody and vocal for both songs) match the previous release exactly as parsed JSON.
- All four MusicXML sounding streams match their selected production role documents. Full-duration harmonic validity, ending completion, and evaluation-contribution sums pass.
- The two original song files and four supplied references remain SHA-256 identical to their preserved inputs.
- Native command `ctest --test-dir build/build_x86_debug -R '^product_vamp$' --output-on-failure` passed in **33.54s**, with the required localhost socket access.
- The single comparison page contains 24 WAVs: complete generated/reference solos, identical-backing mixes, and opening excerpts. All passed PCM clipping checks. All 36 local page links exist. No subjective listening verdict is claimed.
## Measured cost
Hardware: Intel Core i7-1355U, 12 logical CPUs; two composition workers. Cold solo generation plus full staged asset build took **2249.06s (37.5 minutes)**. Regression and dependency checks overlapped part of that run, so this is not an isolated speed comparison with the earlier release.
| Cold solo role | Seconds |
|---|---:|
| All of Me acoustic | 1041.56 |
| All of Me electric | 850.48 |
| Autumn Leaves acoustic | 1328.58 |
| Autumn Leaves electric | 1170.46 |
Worker times overlap. Four All of Me non-solo caches were warm; the four Autumn Leaves non-solo roles regenerated in under one second each. Engraving rendered 90 new pages, reused two scores and took 16.65s wall time. Stage/input/read evidence is in `build-profile.json` and `build-inputs.json`.
The isolated warm CMake publication took **31.49s**, including about eight seconds of CMake/configuration overhead; asset generation reported 23s. All twelve role caches and all six engraving results were reused. Musical equality was verified, not assumed from cache-hit flags.
An isolated 30-repeat structural-proposal microbenchmark returned exactly equal results: **0.4422s** without the proposal cache versus **0.02193s** with it (shared rhythm/position caches already warm). This is a repeated-calculation measurement, **not** a claimed whole-composer speedup. Cold search is still expensive; candidate construction/validation and repeated thematic alternatives remain performance work.
After verification, duplicate full asset stages, two interrupted stages, temporary tone samples and the binary diagnostic profile were removed. The comparison retains the four current scores, compact previous scores, references through links, useful audio and verification evidence in one directory. No previous output is a generation input.
Cleanup removed **151.2 MiB** of superseded comparison audio, stages, probes and temporary rendering tones during this rewrite. The immediate baseline, four user references, build toolchains, caches, published assets and useful verification evidence remain. Current audio is consolidated under `audio/` and linked from one `index.html`; `cleanup.json` records removed paths.
docs/composer/musical_capability_matrix.md
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@@ -1,22 +1,21 @@
# Capabilities and boundaries
# Demonstrated capabilities and limits
| Relationship | Active support | Limit |
| Behavior | Active implementation | Evidence |
|---|---|---|
| Theme/return | Source-derived feature and actual home realization | Technical similarity does not prove recognition |
| Mapped/chord movement | Complete sequences, chord traversal, contract-conditioned routes | Bounded search can miss alternatives |
| Anticipation | Joint arrival/hold and future-harmony contract | Bounded early window |
| On-time/delayed arrival | Selected pitch and uninterrupted tail | No compulsory arrival per cell |
| Approach into anticipation | Shared exact future target, both contracts | Wrong octave/changed target rejects |
| Enclosure | Both orders, semitone or mapped whole-tone upper | Must surround under the exact rule |
| Minor sixth | Bounded stable tonic/predominant color | Written semantics/function authoritative |
| Other colors/suspensions/blues | Existing explicit policies | Annotation is not permission |
| Rhythm | Coherent binary/tuplet groups and editable internal subdivision | No arbitrary tuplet slicing |
| Guitar | Strings 1–6, frets 1–12, no open strings | Not full ergonomic certification |
| Accompaniment | Independent canonical sparse comping | No reactive solo-gap filling |
| Reference review | All events, original labels, rule recognition | Observations distinguished from validated support |
| New tune without a compulsory head rhythm | Source-independent action construction | Empty-head and held-head synthetic tests |
| Arpeggiated expansion / scalar route / neighbor motion | Complete contextual pitch route | Operation reachability and route tests |
| Development, answer, return, optional head reference | Heard-theme/source feature used only by the selected action | Each action requested and realized in eligible authored contexts |
| Open continuation / local settling / completion / handoff | Different timing and destination contracts | Candidate diversity and terminal-hold tests |
| Rest, pickup, syncopation, cross-bar group, tuplet | Exact rhythm groups and complete authored cells | Group, notation and playback tests |
| Early destination, approach, enclosure, connection | Joint proposals and existing typed validation | Positive/negative contract tests and final expression reports |
| Stable/resolving colors, prepared suspension, blues | General chord/function policy; complete realized evidence | Retained validator tests and construction coverage |
| All six strings; no open strings; frets 1–12 | Shared pitch domain and complete-melody placement | Physical tests and published TAB validation |
| No target dependency / no other generated-role dependency | Input audit and independent role cache | Dependency checks and full-song document hashes |
Independent tests in `tests/test_joint_arrivals.py` extend the existing timing, evaluator, importer, physical, expression and dependency coverage. The four target files are not required fixtures.
Not every enabled treatment must be selected in every song. Rejections and selected uses are separate from capability. A failed bounded search is not a proof that a musical solution is impossible.
All four target solos have legal positions under the explicitly confirmed guitar-written octave convention. Four Autumn electric events extend beyond the source-derived production vocal cutoff. This is reported, not repaired by changing either input.
The source melody is optional material, not a compulsory blueprint. A return currently preserves the rhythm and direction of a short heard signature with harmonic adaptation; this is weaker than requiring its exact intervals. This can still be perceptually insufficient. Phrase-level context and the user's listening assessment remain important.
Unexplained reference events remain explicit. Recognizing a relationship does not inject it into construction; selecting more expression contracts does not prove a better melody. Audition remains necessary.
The route solver selects a complete path but internally uses a bounded pitch frontier. It does not perform a global whole-chorus optimum or arbitrary two-sided rewriting of committed phrases. One-phrase lookahead chooses a different complete alternative instead. Faster passages use a coarse tempo policy; legal TAB is not proof of human comfort.
Unsupported written chords still produce explicit mapper errors. No missing initial harmony is invented. Source-defined vocal protection remains authoritative even when a comparison reference continues beyond it. No new dynamics, swing, accents, velocities or timbral effects were introduced.