Fix Generation

TECHNICAL_GUIDE.md

@@ -66,7 +66,7 @@ The pipeline is Soundslice/MuseScore -> uncompressed `.xml` -> musical model and
 
 `generator.rhythm.load_library()` parses the library once per asset generation. Immutable snippets retain exact event onsets, durations, written values, rests, beams, and continuations. Their placeholder pitches and tempo do not transpose chords or select playback BPM. A snippet must contain one or two complete sequential bars in one supported meter and voice, without grace notes, tuplets, time modifications, tremolo, or meter changes.
 
-`generator.accompaniment` selects a two-bar motif, either a complete two-bar snippet or a pair of one-bar snippets, and realizes a four-bar `A, B, A, B'` cycle. The fourth bar varies one beat when a suitable candidate exists. The cycle repeats through the section, restarting at section or meter boundaries; a final partial cycle uses only the required bars. The immutable plan has separate `acoustic_bass`, `acoustic_upper`, and `electric` lanes. Density targets are one bass attack per two quarter-note beats, one upper-chord attack per beat, and one electric attack per four beats. Harmonic coverage and pulse support take priority for acoustic, while electric favors sparse responses around melody and acoustic attacks. Silent electric bars are allowed. Simultaneous bass and upper attacks are allowed, as are collisions with the melody. Source identity breaks ties deterministically; selection does not enumerate every pair of one-bar snippets or introduce randomness.
+`generator.accompaniment` selects a two-bar motif, either a complete two-bar snippet or a pair of one-bar snippets, and realizes a four-bar `A, B, A, B'` cycle. The fourth bar varies one beat when a suitable candidate exists. The cycle repeats through the section, restarting at section or meter boundaries; a final partial cycle uses only the required bars. The immutable plan has separate `acoustic_bass`, `acoustic_upper`, and `electric` lanes. Density targets are one bass attack per two quarter-note beats, one upper-chord attack per beat, and one electric attack per two beats. These are scoring targets, not per-measure limits: electric aims for about two short stabs in 4/4, with metrical scaling and phrase variation. Harmonic coverage and pulse support take priority for acoustic, while electric favors responses around melody and acoustic attacks. Silent electric bars are allowed. Simultaneous bass and upper attacks are allowed, as are collisions with the melody. Source identity breaks ties deterministically; selection does not enumerate every pair of one-bar snippets or introduce randomness.
 
 Pickups use the corresponding tail of a full-meter rhythm bar. Harmonic state carries across bars until changed or canceled by N.C.; a snippet attack sounds only when a chord is active. A held generated accompaniment chord stops before a different harmony or N.C., leaving silence until the next selected attack. Electric stabs last at most one quarter note and never continue a snippet tie; their remaining duration becomes rests. Melody attacks influence selection but do not directly delete acoustic attacks. Missing rhythm material, unsupported accompaniment meters, and mid-measure meter changes produce errors. The broader import and engraving model still accepts the meters described below.
 
@@ -136,7 +136,7 @@ All three parts, for both songs and practice, use octave-transposing notation: w
 
 `pitch.py` resolves explicit MusicXML instrument transposition once before part generation. Explicit zero transposition is also authoritative. Octave-clef exports already encode sounding pitch in their note values, so they do not receive another implicit octave subtraction. Generated parts carry an explicit `transpose.octave_change: -1`; guitar placement and audio read that shared state. Internal concert-pitch normalization and written-pitch conversion cancel for ordinary source notation except for the intentional song electric melody octave increase. There is no automatic octave fitting, vocal-specific range shift, or key transposition.
 
-`guitar.py` searches standard tuning E2 A2 D3 G3 B3 E4, frets 0-20 inclusive, with at most four frets between the lowest and highest positions, including fret 0. Open strings participate in span validation and proximity scoring: 0/2/3 and 0/4 are valid, while 0/5 and 0/11/12 are not. Exact melody tones are never dropped or replaced. Simultaneous tones occupy distinct strings, and sustained/tied tones retain their assignments. Acoustic grips use one bass on string 5 or 6 and two or three consecutive strings within 2-4, with zero or one unused string between bass and upper voices. Both rhythmic voices must fit one complete grip, even when only one attacks. Each continuous acoustic harmony span keeps the same bass pitch, upper voicing, and string/fret positions. The bass is the root unless a slash bass or inversion specifies otherwise; there is no alternating-bass substitution.
+`guitar.py` searches standard tuning E2 A2 D3 G3 B3 E4, frets 0-20 inclusive, with at most four frets between the lowest and highest positions, including fret 0. Open strings participate in span validation and proximity scoring: 0/2/3 and 0/4 are valid, while 0/5 and 0/11/12 are not. Exact melody tones are never dropped or replaced. Simultaneous tones occupy distinct strings, and sustained/tied tones retain their assignments. Acoustic grips use one bass on string 5 or 6 and two or three consecutive strings within 2-4, with zero or one unused string between bass and upper voices. Both rhythmic voices must fit one complete grip, even when only one attacks. Each continuous acoustic harmony span keeps the same bass pitch, upper voicing, and string/fret positions. Root-bass and fifth-bass candidates compete using the same complete-grip cost; fifth choices are not merely fallbacks. The fifth follows the chord's actual degree, including diminished or augmented fifths, and is unavailable if omitted from the chord. Explicit slash basses and inversions override this choice. All required chord tones remain mandatory, including the root when required in an upper voice; there is no alternating-bass substitution.
 
 Acoustic spans follow the harmony timeline, including changes during silence. Barline crossings, rests, repeated identical harmonies, and section labels do not reset the grip while accompaniment continues. Changed chord kinds, roots, degrees, basses, or inversions start a new span. N.C. and non-accompaniment passages end a span. Returning to a chord after a different harmony starts a new decision, not a song-wide fixed fingering. A span with attacks is placed once as a complete grip, then each bass or upper attack receives its corresponding subset; simultaneous attacks receive both. If no complete grip satisfies the existing harmonic and fretboard constraints, generation fails with passage context without replacing published assets. Span state is build-only and does not add runtime fields.
 
@@ -146,6 +146,8 @@ Electric chord blocks use strings 1-3 or 1-4, including string 1. Rootless voici
 
 Placement uses the ordered `VoicingCost` components: electric string shortfall from four, melody covered, number of tones above the melody, missing root, physical effort, and missing optional pitch classes. These costs accumulate over the whole passage, so movement cannot outweigh the earlier musical priorities. Melody height compares sounding pitch; unison doubling does not cover it. Electric accompaniment uses the same ranking without the melody-height terms. Acoustic does not receive electric fullness/root penalties: a simpler three-note grip can beat a more awkward four-note grip while satisfying its hard harmonic requirements.
 
+`electric.py` links song accompaniment attacks to harmonized melody events using authored source positions, not displayed measure numbers or a song-wide chord dictionary. References stay inside the corresponding source harmony span and must match its structured chord. Within a span, an attack uses the latest available melody grip at or before its source position, or the first later grip if it precedes all melody chords. This allows different shapes for the same chord in different passages. After guitar placement and melody tie resolution, linked stabs copy the actual melody pitches and TAB positions while retaining their own IDs, timing, and written durations; melody ties and markings are not copied. A melody that remains a single note provides no grip. Passages without a matching playable three- or four-string melody chord, including altered endings without a corresponding reference, retain independently generated electric shapes. No reference metadata reaches runtime JSON, and practice electric remains the melody part without an added accompaniment section.
+
 Physical effort is `movement + 2 * highest_fret + fret_span` for electric and exact melody placement, and `movement + 2 * highest_fret + 3 * fret_span + 2 * (distinct_frets - 1)` for acoustic. Movement is the Manhattan distance between doubled fret/string position centers. Open strings count in every fret measurement. Acoustic shape costs are charged once per harmony span, independent of rhythm density, and transitions compare complete grips rather than whichever lane last sounded. Pure melody tie continuations add no fresh shape or movement cost. Lower positions receive a continuous preference with no comfort threshold or automatic octave fitting. Candidate pruning and the exact small-grid distance transform share this ranking; held notes keep their occupied strings and all compatible candidate states. Stable position ordering resolves equal costs.
 
 There is no finger assignment, barre logic, or predefined chord-shape dictionary. These are proximity and fretboard-feasibility constraints, not a guarantee of comfortable fingering. Nonstandard tuning, capos, microtonal frets, and unplayable passages fail with source/part/event context; there is no slash fallback for a failed chord. Existing assets remain untouched after failure.