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README.md

@@ -116,11 +116,11 @@ Accompaniment uses deterministic four-bar phrase cycles: a two-bar motif repeats
 
 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.
 
-Guitar parts share standard tuning and chord-tone helpers but use separate acoustic and electric placement systems. Both use frets 1-20, exclude open strings, and require a maximum fret difference of three. Frets 7-10 qualify; frets 7-11 do not. Acoustic requires a bass on string 5 or 6 plus all three upper strings 4, 3, and 2, with at least one occupied string at fret 12 or below. Electric uses chords on strings 1-3 or 1-4. Electric melody notes longer than a quarter note, including full tied runs, receive chords when playable; chord changes create fresh attacks even for short remaining fragments. Electric melodies are raised one octave; vocal registers stay unchanged. All parts still sound one octave below their generated notation, and explicit MusicXML transposition is honored once. Unplayable melody harmonizations remain single notes with a diagnostic; unplayable accompaniment or exact melody pitches fail generation.
+Guitar parts share standard tuning and chord-tone helpers but use separate acoustic and electric placement systems. Both use frets 1-20, exclude open strings, and limit grips to three consecutive fret positions. Frets 7-9 qualify; frets 7-10 do not. Complete acoustic and electric chords require at least one occupied string at fret 12 or below; this anchor is an eligibility check, not a penalty for higher notes within the grip. Acoustic requires a bass on string 5 or 6 plus all three upper strings 4, 3, and 2. Electric uses chords on strings 1-3 or 1-4. Electric melody notes longer than a quarter note, including full tied runs, receive chords when playable; chord changes create fresh attacks even for short remaining fragments. Electric melodies are raised one octave; vocal registers stay unchanged. All parts still sound one octave below their generated notation, and explicit MusicXML transposition is honored once. Unplayable melody harmonizations remain single notes with a diagnostic; unplayable accompaniment or exact melody pitches fail generation. Single-note melodies do not require a fret-12 anchor.
 
 All parts use two music systems per page, with a single system only when the score ends on an odd system. Lines break only between measures and share consistent staff/TAB widths. A measure that cannot fit at readable spacing fails with a diagnostic instead of being split. 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. Every generated guitar voicing requires the root, the actual fifth, or both somewhere in the voicing, not necessarily in the bass. Defining chord tones remain mandatory. Acoustic chooses four connected string-voice journeys independently for each arrangement iteration, minimizing total fret travel across harmonic spans. Upper strings stay fixed; bass movement counts both fret distance and one step for switching between strings 5 and 6. All bass inversions are eligible. There is no acoustic register, physical-reach, or shape-effort penalty beyond its hard fret constraints. Complete triads are preferred when feasible; doubling is allowed, authored omissions are never restored, and missing optional tones break equal-movement ties. Electric retains its existing register, span, shape, and position-center movement costs. This is a fretboard-feasibility approximation, not a finger-assignment model. Exact melody pitches and rhythms remain unchanged.
+Electric melody prioritizes four-string chords, then melody on top. Every generated guitar voicing requires the root, the actual fifth, or both somewhere in the voicing, not necessarily in the bass. Defining chord tones remain mandatory. Acoustic chooses four connected string-voice journeys independently for each arrangement iteration, minimizing total fret travel across harmonic spans. Upper strings stay fixed; bass movement counts both fret distance and one step for switching between strings 5 and 6. All bass inversions are eligible. There is no acoustic register, physical-reach, or shape-effort penalty beyond its hard fret constraints. Complete triads are preferred when feasible; doubling is allowed, authored omissions are never restored, and missing optional tones break equal-movement ties. Electric chord effort balances span and distinct frets against position-center movement, without an absolute fret-height penalty. Unharmonized melody placement retains its existing register and movement costs. This is a fretboard-feasibility approximation, not a finger-assignment model. Exact melody pitches and rhythms remain unchanged.
 
 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.