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Rhythm Comping Pairs
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khodowany
2026-10-07 20:57:23 -05:00
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@@ -108,7 +108,7 @@ Each instrument has 24 distinct two-bar patterns in 4/4, 24 in 3/4, and 24 for e
Both accompaniment parts balance movement with sounding register and a soft cost for mean fret positions above nine; comfortable shifts can win over staying high. Acoustic uses a register center of MIDI 53 and electric uses 60. Compact spans and preferred chord families remain higher priorities, including for the final sustained chord. Electric melody's supporting chords use the same balance after the existing melody-string and foreground priorities; the original melody pitches and rhythm remain fixed. Voicing preferences do not reseed accompaniment rhythms.
The first acoustic attack for each new chord includes bass, alone or paired with the upper chord. A mid-measure change follows this rule; an unchanged chord crossing a barline does not create a bass obligation. Delayed entrances remain delayed. A qualified half-beat anticipated chord includes its bass at the anticipated entrance. Bass and upper notes share one engraved part, with ties preserving overlaps and independent releases.
Acoustic attacks normally play bass and upper chord together. Consecutive attacks exactly an eighth note apart split into non-overlapping bass–upper pairs within the same harmony; an odd leftover attack plays both together. Pairing continues across barlines and two-bar pattern boundaries, but stops at chord changes, chorus boundaries and source-defined entries/handoffs. The first attack for each new chord therefore includes bass, including a qualified anticipated entrance. Delayed entrances remain delayed. Bass may ring beneath the upper attack; only conflicting same-string releases are shortened. Bass and upper notes share one engraved part, with ties preserving overlaps and independent releases.
Each song has six canonical roles: electric melody, electric accompaniment, electric solo, acoustic accompaniment, acoustic solo, and vocal melody. Matching source-form positions reuse the same musical events and TAB whenever a role returns. Final-turnaround omission changes only affected harmony; source-defined pickups/handoffs and the three-bar instrumental closing sustain remain explicit exceptions.