Generation

README.md

@@ -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: sustaining notes use ties, simultaneous tones share a stem, and rests appear only when the entire part is silent. 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; 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 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.
 
 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.
 
@@ -113,6 +113,8 @@ Guitar parts share a theory-based voicing and proximity search over standard tun
 
 All parts use two music systems per page, with a single system only when the score ends on an odd system. Tall notation is scaled uniformly to fit the two rows; guitar notation and TAB stay together and aligned. TAB displays frets and ties without duplicate rests; standard notation retains the complete rhythm. The generated `.pages/*.png` files are the same page images displayed by the product.
 
+Electric melody prioritizes four-string chords, then melody on top, then root inclusion. Lower frets and compact shapes are preferred before optional chord tones; rootless voicings remain fallbacks, not equally desirable defaults. Electric accompaniment shares the fullness/root priorities. Acoustic instead favors simple grips, allowing bass plus two upper notes when that is easier than a four-note shape. Defining chord tones remain mandatory. All guitar parts prefer lower positions continuously rather than using a fret threshold; exact melody notes and necessary high positions remain available.
+
 Write all music in reading order: repeat bars, numbered endings, navigation jumps, and pass-specific ties are rejected. The seven-section performance arrangements remain fully written out. Chord labels use `M`, `m`, `aug`, `dim`, `sus`, and `mM7`, including explicit major triads such as `CM`. Recognized Soundslice text-only harmonies are normalized into structured chords; parenthesized chords mark optional turnarounds omitted from the final arrangement ending.
 
 The main menu's **Playback** toggle plays the selected part once at the menu BPM, suppresses the metronome, and returns to the part menu after natural completion. Manual page turns do not seek or restart audio. Playback is off by default. Python generates shared PCM tones and exact beat timelines; C++/Sonus only loads, schedules, and mixes them. Audio sample sustain loops hold individual notes for their written duration; they never repeat musical passages. No SoundFonts or runtime synthesizer are required. Practice navigation is Exercise -> Part -> Score, with the filename number retained alongside an authored title.