Cleanup
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khodowany
+9
-89
@@ -190,103 +190,23 @@ Scale labels appear above chord symbols at collection changes and system starts.
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### Independent Musical Generation
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The arrangement has six independently generated roles: acoustic accompaniment and solo; electric accompaniment, melody and solo; vocal melody. `generator.production.SourceAnalysis` contains a canonical immutable copy of the original song. Its harmony, melody, form, meter, tempo, and source-defined role windows are the only shared musical context. A role never reads another role's candidate pool, chosen notes, attacks, register, or grips. Assembly unions their reserved windows; it does not compose, reselect, or rewrite music. The original vocal pickup reserves time before solo composition.
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Production composes six roles independently from the original source and relevant resources in `data/`: acoustic accompaniment/solo, electric accompaniment/melody/solo, and vocal melody. `production.SourceAnalysis` provides immutable source harmony, melody, meter, tempo, form and participation windows. Assembly applies those windows and protects the returning vocal pickup without inspecting generated solos to compose another part.
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`generator.production.generate_role` is the production entry point for each role. The ordinary build schedules these jobs in a bounded **spawn process pool**, default two workers. `--composition-jobs 1` is the serial reference; values through 16 are accepted. CMake exposes `VAMP_COMPOSITION_JOBS` separately from `VAMP_ENGRAVING_JOBS`. More workers can increase memory use and need not be faster on a small machine.
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`production.generate_role` runs in a bounded spawn process pool, default two workers (`VAMP_COMPOSITION_JOBS` / `--composition-jobs`). Role-specific keyed caches support incremental rebuilds. Serial and parallel modes use the same deterministic musical choices; worker completion order is not an input. Actual composition reads are audited. Optional targets, prior scores and other roles' caches are excluded.
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Composition caches contain fully keyed role results under `build/build_common/composition_cache`. Keys cover canonical source content, role settings, relevant production data, algorithm version, and implementation files. Role-specific content hashes and named decision domains determine equivalent-choice tie breaks; output names, title, request order, references, previous scores, and wall-clock budgets do not determine musical choices. Concrete route caches include incoming state and endpoints. Rhythm-window indexing and per-worker parsed catalogs remove repeated full-catalog scans. Cache corruption is rejected, and clean generation remains available without a cache. Unchanged songs/roles can reuse their results; rendering and assembly remain validated. Trace records accompany completed output in `analysis/<song>.roles`; elapsed timings are progress output, not part of deterministic published scores.
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The active path is `composer.compose → leads.thematic_options → themes.phrase_candidates → themes.unit_candidates → gestures/routes → realization.checked_phrase → scoring.musical`. One source-related realized theme remains available for returns and development. Complete route candidates connect harmonic material through the mapped scales. New joint gesture proposals choose early/on-time/delayed arrivals, holds, releases and typed approaches/colors **before** pitch-route search. A complete approach can target an anticipated destination when both contracts validate. Binding targets and sounding tails survive revision; ordinary computational boundaries remain open.
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The active solo construction is `composer.compose` → `leads.thematic_options` → `themes.phrase_candidates` → `realization.checked_phrase`. Source-feature retrieval now covers the complete head, including characteristic rhythm, rests, interval relationships and turns, rather than only its first eight bars. One realized theme drives later development and selected clear returns. The acoustic and electric policies independently prefer different source-feature treatments and soft, overlapping register trajectories. Pairwise uniqueness is diagnostic, never a selection constraint. All six strings are eligible for either solo; sounding notes require frets 1–12 without open strings. Placement compares complete hand-region paths, time-aware shifts and crossings, retaining ties in the same position. Electric melody/vocal transformations and the separate chord anchor policy remain unchanged.
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Both solo roles use strings 1–6, frets 1–12, no open strings, with soft overlapping register preferences. Exact timing, source transposition, ties, harmonic interpretation and runtime representation remain unchanged. The 21 scale patterns govern ordinary movement. Exceptions need actual typed preparation/target/duration evidence. A tonic/predominant natural minor sixth may be a bounded stable color; mapped-upper enclosures must verify their upper neighbor's collection membership. No chord is rewritten to excuse an ornament.
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Complete phrase alternatives combine an identifying feature, continuation, harmonic destination, exact rhythm and sounding tail. Structural notes come from the written chord; mapped scale routes connect them with octave-aware indices. Complete paths retain their destination across cells, barlines and scale changes. The search remains bounded, with diverse rhythm/endpoint representatives before expensive realization and a limited replan on failure. An exhausted search reports its failed window; there is no generic fallback tune. Quarter/eighth movement, delayed entrances, offbeat/dotted values, rests, cross-bar holds and selected triplets or sixteenths come from catalogs plus independently authored general rhythm cells. Faster cells obey tempo/difficulty limits. Sustained endings remain binding, but there are no chorus quotas for attacks, closes, returns, pitch distribution or strings. Occupancy is diagnostic.
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The authoritative evaluator reports validity, normalized components, weights and their actual selected total. It does not use reference similarity. Rhythm/route retrieval heuristics are separate. Per-Harmony caches retain musical constraints and restore caller provenance; pure rhythm-group and legal-position checks are memoized.
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Typed expression policies distinguish optional colors, semitone approaches from either side, both enclosure orders, short chromatic connections, delayed resolutions, anticipations and two conservative blues inflections. They are local alternatives to a direct approach around existing destinations, with complete timing and pitch contracts. Optional colors are conditioned on chord quality/function, duration and actual continuation; altered dominant ninths/thirteenths require a resolving dominant. A natural minor sixth needs tonic/predominant context and stepwise resolution. These policies do not rewrite the chord or force the backing to voice a color. Explicit alterations/omissions take precedence. Written extensions remain distinct from optional colors.
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Accompaniment remains source-only canonical sparse comping, reused at corresponding form positions. It does not respond to generated lead notes or borrow their grips. No new dynamics, velocity shaping, random timing or instrument effects are introduced.
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Ordinary material still belongs to every mapped collection it overlaps. Only a validated expression can authorize an exception. Validation checks actual event IDs, exact pitch/octave, harmonic time, every overlapped chord/scale, preparation where required, resolution deadline, guitar placement, protected identity and terminal hold. An annotation or role label alone authorizes nothing. Ties merge before duration treatment; repeated attacks do not satisfy a hold. Missing harmony yields explicit space, unsupported chords fail visibly, and the 21 collections are not claimed to cover every possible chord. Expression selection is a bounded local pass over a valid theme, not a global search over all possible tensions. It may select no decoration.
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The resource inventory is documented in [data migration](docs/composer/data_migration.md). Scales, 2,954 relative paths and 3,538 meter-specific rhythms remain useful; the catalogs are not uniformly sampled. New resources store general musical purposes and target-relative rules, not reference phrases or bar recipes. The current user-authorized reference analysis informed these general rules; provenance states that explicitly.
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`generator.comping.Canonical` constructs each accompaniment independently from source harmony, original melody attacks, form position and static policy. It considers dyads, shells and compact voicings, preserving defining written degrees and explicit bass requirements; complex written extensions can require more tones. Acoustic carries primary bass responsibility. Electric supplies bass at essential source-defined positions. Context selects releases, delayed shells, held figures or space; there is no compulsory four-bar loop. The canonical form is reused exactly when that instrument accompanies, including behind solos. It neither borrows electric melody grips nor follows generated solo gaps. Role windows prevent self-accompaniment. Ensemble overlap is reported downstream and never feeds selection.
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No accents, dynamics, velocity shaping, new swing interpretation or random timing have been added. Runtime JSON, notation/TAB semantics, playback synthesis and transactional publication are unchanged. Source melody and vocal compatibility remain checked separately from generated music.
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#### Data inventory and consumers
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| Resource | Action and purpose | Active consumer |
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|---|---|---|
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| `data/songs/*.xml` (2 current sources) | Keep original songs; no reference-derived substitute sources | Source analysis, form, each role |
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| `data/scales/` (21 patterns) | Keep major, melodic-minor and harmonic-minor modes | Scale mapper, strict route validation |
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| `data/sequences/` (2,954 relative paths) | Keep combinatorial intervals; they are routes, not complete curated tunes | Endpoint-indexed solo routes |
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| `data/rhythms/` (3,538 snippets) | Keep all meters: 34 in 2/4, 146 in 3/4, 630 in 4/4, 2,728 in 5/4; retrieval is meter-specific, never weighted by file count | Solo rhythm windows; legacy rhythm regression fixtures |
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| `data/composition/roles.json` | Add versioned role preferences, register, bass and moderate difficulty policy | Independent role choices, placement preferences, fast-cell eligibility |
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| `data/composition/grammar.json` | Add transposable feature-preservation contracts and hold/release alternatives | Theme development and ending construction |
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| `data/composition/harmony.json` | Add explicit optional tension/function/duration/resolution rules | Expression candidates and validation |
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| `data/composition/lead_ins.json` | Add generic target-relative formulas and blues resolutions | Complete expression candidates and validation |
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| `data/composition/rhythms.json` | Add purpose-bearing melodic cells and sparse comping figures | Solo joint realization, canonical comping |
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| `data/composition/melodic_vocabulary.json` | Expand with 11 original purpose-bearing rhythm cells and four chord-member traversal operators; no fixed-pitch licks | Solo rhythm retrieval and complete routes only; excluded from accompaniment choice inputs |
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| `data/lead_phrases/original_lead_theme.json` | Migrate unchanged to `audition/controls/`; remove from production data/build dependencies | Optional historical audition controls only |
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| `data/expected/performance_summary.json` | Keep validation-only form/harmony/vocal invariants; never used in selection | Post-generation compatibility check |
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| `build/*solo-[12].xml`, old generated assets, audition snapshots | Keep untouched, outside all musical input traces and caches | Explicit optional review only |
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The six composition JSON resources carry stable IDs, version 1, independent authorship provenance and MIT licensing. They were written from the musical brief and general principles, without extracting target notes, rhythm fingerprints, statistics or fitted weights. Existing catalog provenance is unchanged. No songs or useful combinatorial families were deleted. Legacy cell composition utilities remain for regression/explicit historical comparison; they are not a fallback production path.
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#### Commands and validation boundary
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```sh
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# One role; no other role is composed. A JSON settings file can override its policy.
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./modulus.py python -m generator.compose --song data/songs/autumn_leaves.xml \
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--role acoustic_solo --data-dir data --cache-dir build/build_common/composition_cache \
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--output build/acoustic-role.json
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# Full production build, bounded processes and persistent role/page caches.
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./modulus.py python -m generator --data-dir data --output-dir build/build_x86_debug/generated_assets \
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--composition-jobs 2 --composition-cache build/build_common/composition_cache \
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--jobs 2 --engraving-cache build/build_common/engraving_cache --check --progress
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# Auditions read completed output and an optional preserved baseline; never compose.
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./modulus.py python -m audition.production_review \
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--assets build/independent_generation_comparison/after \
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--baseline build/independent_generation_comparison/baseline \
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--output build/independent_generation_comparison/auditions
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# Optional reference review: role association is explicit, not inferred from "Vocal".
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./modulus.py python -m audition.reference_review \
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--reference 'autumn_leaves/acoustic=build/autumn-leaves-solo-1.xml' \
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--form-start autumn_leaves/acoustic=2 --output build/reference-review.json
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```
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The actual four optional paths are `build/all-of-me-solo-1.xml`, `build/all-of-me-solo-2.xml`, `build/autumn-leaves-solo-1.xml`, and `build/autumn-leaves-solo-2.xml`. Solo 1 maps to acoustic; Solo 2 maps to electric for review only. All of Me has 32 notated measures. Autumn Leaves has 33, with its first Gm7 at measure 2; its initial material is retained without invented harmony. The reviewer records encoded pitches, literal annotations, rational offsets, carried harmony, tuplets, ties, sounding events and uncertain annotation relationships. No guitar-octave interpretation or repairs are applied. Encoded pitches outside the legal solo domain remain recorded as such. This optional command is never run by the build or required tests.
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Auditions export full solos plus opening/ending excerpts, solo stems, a common fixed backing for comparisons and the final assembled backing. Plain themes and selected pre-expression themes are included. Source controls are explicitly placed in a legal guitar register for audition only. Neutral rendering and gains are shared; score overlap diagnostics are not claims of perceived masking or musical improvement. Required tests use independent synthetic musical fixtures and cover serial/parallel/order equality, role settings, clean/cache equality, reference isolation, exact timing, ordinary scale motion, typed exceptions, preserved holds, notation and placement. Listening and playing are still necessary to judge the result.
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Current boundaries: source meter vocabulary is 2/4–5/4; unsupported meters or unrepresentable notation fail explicitly. The bounded composer cannot prove impossibility when it exhausts its budget. Expression vocabulary and local editing are deliberately finite, and the source-derived seven-section arrangement remains the existing product form. Independent parts can still collide or sound similar; diagnostics cannot automatically reselect either part. Playback remains one neutral mono tone profile, not a simulation of acoustic/electric timbre.
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#### Purposeful phrase refinement and optional solo exports
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The `purposeful-phrases-2` solo policy retains the independent role architecture. Rhythm cells now retain their authored purpose through loading and eligibility filtering. A continuation favors grouped motion over isolated short notes; an arrival can broaden; an entrance or answer retains its own vocabulary. Diverse candidates reach joint pitch/rhythm realization before stable hash tie-breaking. There is no reference-derived attack or occupancy target. This revision expands the production vocabulary with 11 independently authored rhythm cells and four transposable chord-member traversal operators. The new resource is keyed only into solo roles, so additions do not change accompaniment choices. No target fragments, distributions, or fitted weights were migrated into it.
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Search units remain bounded but can finish at the heard signature's duration instead of invariably ending after two bars. Different frontier states carry their own completed musical time. Unit costs are duration-weighted before pruning. The home identity, incoming pitch, route, history, and terminal contract survive these boundaries. A provisional same-pitch endpoint may share the next continuation's attack only when all feature, timing, harmony, and protected-tail contracts still validate. Intentional repeated attacks remain distinct. Route retrieval retains arpeggio families alongside ordinary mapped movement and does not charge every third as worse than a step. Data-defined operators traverse ascending/descending chord members, a member turn, or defining chord members, then connect the complete prefix to the selected destination through an ordinary scale route. Each operator uses the actual chord at each event, preserves fixed notes, and requires full-duration collection membership; it introduces no new chromatic exception.
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`--export-solo-xml` writes completed solo role views under `solo_xml/` in the atomically published assets. The CMake equivalent is `VAMP_EXPORT_SOLO_XML=ON` (default OFF). Solo 1 maps to acoustic; Solo 2 maps to electric. The exporter neither generates nor changes notes. It preserves exact durations, ties, tuplets, harmony offsets, and technical string/fret annotations, and numbers this standalone view from one. Its manifest retains the original arrangement measure numbers and offset, source fingerprint, production settings/version, and full phrase report. The runtime format and full-arrangement numbering remain unchanged. The normal source importer still rejects authored TAB as a production input; optional inspection reads the exported technical annotations directly.
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Example comparison after an export-enabled build:
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```sh
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./modulus.py python -m audition.solo_compare \
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--generated-dir build/build_x86_debug/generated_assets/solo_xml \
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--reference 'all_of_me/acoustic=build/all-of-me-solo-1.xml' \
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--reference 'all_of_me/electric=build/all-of-me-solo-2.xml' \
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--reference 'autumn_leaves/acoustic=build/autumn-leaves-solo-1.xml' \
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--reference 'autumn_leaves/electric=build/autumn-leaves-solo-2.xml' \
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--form-start all_of_me/acoustic=1 --form-start all_of_me/electric=1 \
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--form-start autumn_leaves/acoustic=2 --form-start autumn_leaves/electric=2 \
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--reference-pitch guitar-written \
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--assets build/build_x86_debug/generated_assets \
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--output build/solo_comparison/review
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```
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This explicitly invoked, downstream command compares canonical sounding events with rational time. Tied notation fragments count as one event, repeated attacks do not. It reports pitch/onset/duration differences, separate spelling differences, rests, held-note harmonic roles, literal annotations, and legal guitar placement. The accepted user convention interprets these references as guitar-written notes; original encoded pitches remain in the report. No inferred conversion is based on their incidental `Vocal` part name. Autumn Leaves' initial material remains at negative form-relative time; no missing harmony is invented and no reference bar is discarded to manufacture equality. Reference notes beyond the source-derived solo cutoff are reported intact.
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With `--assets`, it also renders generated/reference stems and identical-backing comparisons at the same neutral gains. The shared audition clock reserves room for reference-only lead-in material, explicitly reported in the manifest; this does not add notes to production or edit the reference XML. The existing production review exports baseline/new stages and final arrangements separately. All optional reports/audio live in build output and are never composition inputs. Exact matching is reported honestly and is not an acceptance requirement for independently invented melodies.
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Production exports `*-solo1.xml` (acoustic) and `*-solo2.xml` (electric) plus `manifest.solo`. Optional `audition.solo_compare` and `audition.theory_review` accept explicit reference paths after generation. The four supplied scores use the separately confirmed guitar-written octave convention in this adapter only. Autumn Leaves aligns at measure 2 / first Gm7; preceding material is retained. References are untouched and missing files never change normal generation.
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One review folder, `build/solo_reference_comparison/`, holds the previous four XMLs, the new four, the complete reference comparison and audio. Historical audition controllers and obsolete generated experiment trees were removed. [Commands](docs/composer/commands.md), [active path](docs/composer/active_path_audit.md), [evaluation contract](docs/composer/evaluation_contract.md), and [implementation evidence](docs/composer/implementation_report.md) describe the current behavior and limits. Technical validity and measured similarity do not establish listener preference.
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### Engraving Boundary
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