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khodowany
2026-09-26 18:00:51 -05:00
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@@ -105,7 +105,7 @@ Identical notation bodies share layout and body rasterization even when titles o
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. Four-digit numbered sources in `data/practice/` (currently `0001.xml` through `0366.xml`; `0000.xml` is also valid) produce one pass each of **acoustic accompaniment**, **electric melody**, and **vocal melody**. Both categories use the authored musical key, with no key variants or key-selection menu. Duplicate titles never merge exercises.
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 a playable grip. They combine into one notated voice with no ties: each grip 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. Bass alternates root/fifth unless an explicit bass or playability requires otherwise. Electric accompaniment responds more sparsely with stabs lasting at most a quarter note. 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. Solo slashes and the seven-section form retain their roles. Unsupported accompaniment meters and mid-measure meter changes fail explicitly.
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 grip until the harmony changes. Its bass pitch, upper voicing, and TAB positions stay constant across rests, barlines, repeated chord symbols, and section labels while accompaniment continues. The bass is the root unless a slash bass or inversion specifies otherwise. 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 responds more sparsely with stabs lasting at most a quarter note. 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. Solo slashes and the seven-section form retain their roles. Unsupported accompaniment meters and mid-measure meter changes fail explicitly.
There are no musical genre presets, genre defaults, or genre metadata. Obsolete `vamp:style` hints are rejected; visual styles, fonts, colors, and barline notation remain supported. Phrase cycles are written into the generated score and played once in reading order.