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README.md

@@ -102,13 +102,13 @@ Six roles generate independently: acoustic accompaniment/solo; electric accompan
 
 Electric accompaniment and electric melody share compact chord families on strings 1–4. Melody harmonization adapts these to keep the original melody on the lowest-numbered feasible string, preferring it above the added chord tones. The separate Electric Solo stays monophonic. Acoustic accompaniment uses one bass note on string 5 or 6 and three upper notes on strings 2, 3 and 4. Transposable degree families cover triads, sevenths/sixths, suspensions, diminished/augmented and extended/altered chords, with root/fifth bass alternatives on both bass strings. Plain major/minor chords also allow third basses; explicit slash basses and inversions take priority. Unplayable variants are discarded. Each instrument selects a connected voicing path across the source form to reduce hand movement, then reuses it through the arrangement.
 
-Accompaniment uses independently authored two-bar jazz pattern families, chosen against each song's original melody and harmonic rhythm. Acoustic repeats two patterns (A–B); electric repeats four (A–B–C–D). Occasional source-phrase-ending fills recur at the same positions in every iteration; both instruments allow at most one per eight full measures, including the repeat join. Acoustic normally has 1–3 attack positions per full bar with quarter/eighth bass and upper-chord notes that may overlap or sound together. Electric has distinct patterns with normally 0–2 attacks per bar, stabs, sustains and space. Cross-bar holds use ties; repeated attacks remain attacks. Pattern phase follows source-form position, including partial entries and odd-length forms. Meter changes use compatible cycles, with explicit diagnostics if fewer distinct patterns are available. Tempo changes do not reshuffle the accompaniment.
+Accompaniment uses independently authored two-bar jazz pattern families, chosen against each song's original melody and harmonic rhythm. Acoustic repeats two patterns (A–B); electric repeats four (A–B–C–D). Occasional source-phrase-ending fills recur at the same positions in every iteration; both instruments allow at most one per eight full measures, including the repeat join. Acoustic normally has 1–3 attack positions per full bar with quarter/eighth bass and upper-chord notes played together or in sequential pairs. Electric has distinct patterns with normally 0–2 attacks per bar, stabs, sustains and space. Cross-bar holds use ties; repeated attacks remain attacks. Pattern phase follows source-form position, including partial entries and odd-length forms. Meter changes use compatible cycles, with explicit diagnostics if fewer distinct patterns are available. Tempo changes do not reshuffle the accompaniment.
 
 Each instrument has 24 distinct two-bar patterns in 4/4, 24 in 3/4, and 24 for each of the 3+2 and 2+3 groupings in 5/4. Written additive grouping takes precedence. Otherwise, the original chord changes and melody choose one consistent 5/4 grouping per continuous meter section, shared as source analysis by the independently generated parts. Explicit meter matching prevents treating 6/8 as 3/4. The learned solo model and playback count-in are unchanged by this accompaniment expansion.
 
 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.
 
-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.
+Acoustic attacks normally play bass and upper chord together. Consecutive attacks exactly an eighth note apart split into 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. Every new acoustic attack releases the previous sound: a bass eighth followed by an upper-chord quarter has no bass underneath the quarter. Complete-cycle selection, fills and final realization use this same release rule. Bass and upper notes share one engraved part; uninterrupted holds may still tie across barlines.
 
 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.