Soloing & Measures

README.md

@@ -99,10 +99,14 @@ Uncompressed MusicXML 3.1/4.0 scores exported from Soundslice or MuseScore live
 
 Solo harmonic function is distinct from scale permission. Basic members respect the chord's suspensions, alterations and omissions; symbol-specified extensions require a planned color when sustained, and a non-chord slash bass is not automatically a melodic destination. Ordinary notes lasting two quarter-note beats or longer must remain chord members across every overlapping chord, even when the scale stays unchanged. Short scale motion remains available. A prepared suspension must resolve by the planned deadline to an adjacent chord member. These checks operate on complete sounding events, so notation ties do not change harmonic treatment or attack counts. Protected quotations keep their musical content and report exposed tensions.
 
-Concrete continuations start from the actual incoming pitch and guitar position. Relative routes from `data/sequences` use exact octave-aware scale indices; a collection change adapts actual pitches without transferring stale degree numbers. Realized statements supply subsequent rhythm, contour, harmonic-anchor and transformation history. Intermediate arrivals permit continuation; terminal arrivals must meet their duration and ending contract. Activity and occupancy targets remain separate from these harmonic requirements. Search budgets remain 64 states, 32 extensions and four retained alternatives, with a rolling gesture window and at most two explicit development-contract replans. Exhaustion reports the failed continuation or contract, not a claim of musical impossibility.
+The composer builds complete timed melodic drafts before selecting elaboration. An identifying rhythm is repeated, extended, displaced, fragmented or answered across the phrase, including across barlines. Extensions can reopen provisional endings; committed anchors and protected quotations remain binding. The original realized home motif and its latest development are retained separately, including into later passages, where continuation, recall and contrast are explicit choices. Several anchor contours and terminal durations are considered with their rhythmic realization. Bounded revision can edit both sides of an internal join, followed by complete harmonic, motif, timing and guitar validation.
+
+Concrete continuations start from the actual incoming pitch and guitar position. Relative routes from `data/sequences` use exact octave-aware scale indices; a collection change adapts actual pitches without transferring stale degree numbers. Intermediate arrivals permit continuation; terminal arrivals must meet their duration and ending contract. Activity and occupancy targets remain unchanged. Search retains up to 64 pitch states within a musical group, 16 at completed groups, and eight complete phrase alternatives. Join revision considers up to eight proposals in two-beat windows on either side, with at most two sweeps. One-phrase lookahead also permits revisions across an uncommitted connected phrase seam. Up to two further construction batches may be tried without weakening musical contracts. Exhaustion reports the failed continuation or contract, not a claim of musical impossibility.
 
 For reproducible listening comparisons, `python -m generator.solo.audition --output build/solo_passage_auditions --capture before` captures the previous implementation; run the corresponding `--capture after` after changing the engine, then `--render`. Use the repository's pinned Python runner. The output includes full solos, opening eight-bar and closing four-bar excerpts, MusicXML, passage reports and structured diagnostics. Fixed-backing comparisons keep the original accompaniment; responsive comparisons use the newly arranged accompaniment. These build-only tools do not add runtime data or playback expression.
 
+For phrase-draft experiments, preserve a `--capture baseline` snapshot before changing the implementation, then run `--compare-phrases` and `--render` in that output directory. This compares complete phrase construction with and without join revision, sharing concrete draft pools when incoming musical states match. It also exports simple drafts, neutral-pitch rhythm diagnostics, motif lineage, selected edits and ending completion. Earlier revisions can change later incoming states and therefore require different draft pools. Capture timings include cache effects; normal production builds initialize their own search. Listening and playing, rather than the diagnostics alone, determine whether the result is better.
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 To inspect generated assets without building the full package, run:
 
 ```sh
@@ -116,7 +120,7 @@ CMake builds engrave with two Python workers and share a disposable page cache u
 
 Identical notation bodies share layout and body rasterization even when titles or score identities differ; each score retains its own header, pages, music, and catalog identity. A `cold namespace` means no cache directory exists for the current renderer fingerprint. It does not mean that every score must be rendered independently: repeated bodies can still be reused within that build, including with persistent caching disabled. Progress separates full-score hits, body hits, newly rasterized bodies, and composed pages.
 
-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.
+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.