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Sustained Rhythm
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khodowany
2026-09-30 02:18:31 -05:00
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@@ -88,7 +88,7 @@ Artifacts are published to the khodo generic package registry's required `latest
Uncompressed MusicXML 3.1/4.0 scores exported from Soundslice or MuseScore live in `data/`. Generated score JSON is not committed.
`data/songs` supplies the authored music. `data/rhythms/<meter>/<series>/` supplies the accompaniment rhythm library for 2/4, 3/4, 4/4, and 5/4. Rhythm snippets are build inputs, not separate catalog entries or runtime files. Generation loads the library once and shares it across parts.
`data/songs` supplies the authored music. `data/rhythms/<meter>/<series>/` supplies the accompaniment rhythm library for 2/4, 3/4, 4/4, and 5/4. All three series are active: the original quarter/eighth patterns plus series `3` with half, dotted-half, and whole notes/rests. Rhythm snippets are build inputs, not separate catalog entries or runtime files. Generation loads the library once and shares it across parts.
`data/scales` is reserved for unfinished scale sources. These files are not parsed, validated, generated, or packaged, and editing them does not trigger asset regeneration.
@@ -107,7 +107,7 @@ 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. Songs generate Acoustic, Electric, and Vocal parts in their authored key, without key variants or a key-selection menu.
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 can be the root or the chord's fifth, whichever makes the complete grip easier; explicit slash basses and inversions remain authoritative. 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 targets about two stabs per 4/4 bar, scaled for other meters, favoring gaps around the melody and acoustic rhythms. Each stab lasts at most a quarter note and reuses the corresponding melody passage's chord shape when available. 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 can be the root or the chord's fifth, whichever makes the complete grip easier; explicit slash basses and inversions remain authoritative. 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 targets about two attacks per 4/4 bar, scaled for other meters, favoring gaps around the melody and acoustic rhythms. Its notes retain the selected rhythm's duration without a one-beat cap, stopping at chord changes or barlines and reusing the corresponding melody passage's chord shape when available. Both parts remain tie-free; clipped binary durations that need ties shorten to one conventional note followed by silence. 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.