Soloing

README.md

@@ -95,7 +95,7 @@ Uncompressed MusicXML 3.1/4.0 scores exported from Soundslice or MuseScore live
 
 `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` supplies the 21 C-centered modes of major, melodic minor, and harmonic minor. The Python build transposes these patterns internally to label the acoustic and electric solo passages; it never transposes the songs or stores scale assignments in song XML. Scale changes appear above the existing solo chord symbols, with detailed build-only reports in `generated_assets/analysis/`. Editing a scale regenerates assets, and invalid patterns fail before replacing the previous output.
+`data/scales` supplies the 21 C-centered modes of major, melodic minor, and harmonic minor. The Python build uses these collections, the song melody, `data/sequences`, and `data/rhythms` to compose acoustic and electric solos with recurring motifs, harmonic arrivals, and space. The other guitar provides solo-aware accompaniment. Scale changes appear above the solo notation and TAB; detailed build-only phrase reports live in `generated_assets/analysis/`. No solo assignments are stored in song XML. Invalid patterns or a harmony without an exact permitted scale fail before replacing the previous output.
 
 To inspect generated assets without building the full package, run:
 
@@ -112,7 +112,7 @@ 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 voicing until the harmony changes within an arrangement iteration. Bass, upper voices, and TAB positions stay constant across rests, barlines, and repeated chord symbols. Any defined chord tone can serve as the bass; 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.
+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 voicing until the harmony changes within an arrangement iteration. Bass, upper voices, and TAB positions stay constant across rests, barlines, and repeated chord symbols. Any defined chord tone can serve as the bass; 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 foreground. 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 and scale-compatible. 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. The seven-section form is unchanged; soloing guitars play single-note phrases without self-accompaniment. 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.