Acoustic Comping

2026-10-06 21:50:59 -05:00
parent c7f6a30a13
commit 2f21ec1f16
6 changed files with 132 additions and 8 deletions
@@ -104,6 +104,8 @@ Electric accompaniment and electric melody share compact chord families on strin

 Accompaniment uses independently authored two-bar jazz pattern families: Charleston and shifted Charleston, forward-motion syncopation, anticipated heavy beats, syncopated riffs, quarters, dotted spacing, shifting motifs, call-response and anticipated beat four. Acoustic distributes a single figure between bass and upper chord, normally 1–3 total attacks per full bar, without mandatory beat-one bass. Separate attacks are quarters/eighths and never overlap; a combined bass-plus-upper chord is allowed only when both attack and sustain together for more than one beat. Electric has distinct patterns with normally 0–2 attacks per bar, stabs, sustained chords and space. The source melody and harmonic rhythm guide complete-pattern selection. Half-beat upper/electric anticipations may establish the next written chord; bass stays on current harmony. Explicit cross-bar holds use ties, never automatic merging of repeated attacks. Canonical patterns repeat at corresponding form positions with documented harmonic/pickup exceptions, and changing only tempo leaves the music unchanged.

+Acoustic voicing selection balances movement with lower sounding register and a soft cost for mean fret positions above nine; comfortable shifts can win over staying high. Compact spans and preferred chord families remain higher priorities. The same preference applies to the final sustained chord, without changing rhythm choices.
+
 **Registered Solo 1 is notated exactly in the acoustic part and Solo 2 exactly in the electric part.** Unregistered song/slot pairs use deterministic prediction from one pooled statistical model trained on both slots. There is no learned acoustic/electric style distinction. Prediction uses up to four recent pitch/rhythm events, source-melody features, harmony, and metrical position; it does not plan complete themes or guarantee long-range phrase development. The current corpus is four authored solos from Autumn Leaves and All of Me.

 Training, authored score reuse, and prediction share contextual harmony validation based on actual notes, timing, and chords. Explanatory labels and justification tags are not required. Unsupported relationships fail with a diagnostic rather than silently changing notes. Both solo roles use strings 1–6 and frets 1–12 without open strings. No dynamics, accents, velocity shaping, or random timing are added.