Comp

README.md

@@ -95,18 +95,20 @@ 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 uses these collections, the song melody, `data/sequences`, and `data/rhythms` to compose acoustic and electric solos with transformed motifs, connected melodic lines, varying activity, sustained arrivals, and planned space. A passage plan groups roughly four to eight bars, connects opening, intermediate and terminal chord-tone anchors, and carries realized motif identity across smaller search cells and phrase boundaries. A bounded search considers the next phrase before committing. Exact quotation is available but is no longer the default. 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.
+`data/scales` supplies the 21 C-centered modes of major, melodic minor, and harmonic minor. The Python build uses these collections, the song melody, the accepted paired pitch/rhythm references in `data/lead_phrases`, `data/sequences`, and `data/rhythms` to compose acoustic and electric solos with transformed motifs, connected melodic lines, varying activity, sustained arrivals, and planned space. A passage plan groups roughly four to eight bars, connects opening, intermediate and terminal chord-tone anchors, and carries realized motif identity across smaller search cells and phrase boundaries. A bounded search considers the next phrase before committing. Exact quotation is available but is no longer the default. 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.
 
 Solo harmonic function is distinct from scale permission. Basic members respect the chord's suspensions, alterations and omissions; symbol-specified extensions require a planned color when sustained, and a non-chord slash bass is not automatically a melodic destination. Ordinary notes lasting two quarter-note beats or longer must remain chord members across every overlapping chord, even when the scale stays unchanged. Short scale motion remains available. A prepared suspension must resolve by the planned deadline to an adjacent chord member. These checks operate on complete sounding events, so notation ties do not change harmonic treatment or attack counts. Protected quotations keep their musical content and report exposed tensions.
 
-The composer builds complete timed melodic drafts before selecting elaboration. An identifying rhythm is repeated, extended, displaced, fragmented or answered across the phrase, including across barlines. Extensions can reopen provisional endings; committed anchors and protected quotations remain binding. The original realized home motif and its latest development are retained separately, including into later passages, where continuation, recall and contrast are explicit choices. Several anchor contours and terminal durations are considered with their rhythmic realization. Bounded revision can edit both sides of an internal join, followed by complete harmonic, motif, timing and guitar validation.
+The composer builds complete timed melodic drafts before selecting elaboration. An identifying rhythm is repeated, extended, displaced, fragmented or answered across the phrase, including across barlines. Extensions can reopen provisional endings; committed anchors and protected quotations remain binding. The original realized home motif and its latest development are retained separately, including into later passages, where continuation, recall and contrast are explicit choices. Several anchor contours and terminal durations are considered with their rhythmic realization. Ordinary invented openings are editable: bounded refinement can replace an entire two-bar idea with another jointly realized pitch/rhythm candidate, then edit both sides of internal joins. Only committed anchors, exact quotations and explicitly selected identifying relationships are protected during elaboration. Full harmonic, timing and guitar validation follows every edit. Development similarity has one weight; it is not also charged as fidelity.
 
-Concrete continuations start from the actual incoming pitch and guitar position. Relative routes from `data/sequences` use exact octave-aware scale indices; a collection change adapts actual pitches without transferring stale degree numbers. Intermediate arrivals permit continuation; terminal arrivals must meet their duration and ending contract. Activity and occupancy targets remain unchanged. Search retains up to 64 pitch states within a musical group, 16 at completed groups, and eight complete phrase alternatives. Join revision considers up to eight proposals in two-beat windows on either side, with at most two sweeps. One-phrase lookahead also permits revisions across an uncommitted connected phrase seam. Up to two further construction batches may be tried without weakening musical contracts. Exhaustion reports the failed continuation or contract, not a claim of musical impossibility.
+Concrete continuations start from the actual incoming pitch and guitar position. Relative routes from `data/sequences` use exact octave-aware scale indices; a collection change adapts actual pitches without transferring stale degree numbers. Intermediate arrivals permit continuation; terminal arrivals must meet their duration and ending contract. Acoustic/electric activity targets remain 1.125/1.375 attacks per beat, with occupancy goals of 0.75 for active motion and 0.9 for arrivals. Soft comparison allows one attack per evaluated phrase and 0.1 occupancy deviation; these tolerances do not permit accidental silence. Ending candidates combine half-, one-, two- or three-beat holds with zero, half- or one-beat release. Only the chosen hold becomes an arrival region; the final quarter of every passage is no longer forced to slow down. Search retains up to 64 pitch states within a musical group, 16 at completed groups, and eight complete phrase alternatives. The four most promising complete alternatives receive two-bar replacement search. Join revision considers up to eight proposals at the two weakest joins, in two-beat windows on either side, with at most two sweeps. The other complete alternatives remain eligible. Complete runs retain their entire attack rhythm, pitch route and destination; an invalid route is rejected as a unit. Up to two approaches per phrase may be elaborated, using catalog routes and the accepted decorated reference’s approach rhythms. Later edits cannot dismantle selected routes. One-phrase lookahead compares the resulting complete alternatives. Up to two further construction batches may be tried without weakening musical contracts. Exhaustion reports the failed continuation or contract, not a claim of musical impossibility.
 
 For reproducible listening comparisons, `python -m generator.solo.audition --output build/solo_passage_auditions --capture before` captures the previous implementation; run the corresponding `--capture after` after changing the engine, then `--render`. Use the repository's pinned Python runner. The output includes full solos, opening eight-bar and closing four-bar excerpts, MusicXML, passage reports and structured diagnostics. Fixed-backing comparisons keep the original accompaniment; responsive comparisons use the newly arranged accompaniment. These build-only tools do not add runtime data or playback expression.
 
 For phrase-draft experiments, preserve a `--capture baseline` snapshot before changing the implementation, then run `--compare-phrases` and `--render` in that output directory. This compares complete phrase construction with and without join revision, sharing concrete draft pools when incoming musical states match. It also exports simple drafts, neutral-pitch rhythm diagnostics, motif lineage, selected edits and ending completion. Earlier revisions can change later incoming states and therefore require different draft pools. Capture timings include cache effects; normal production builds initialize their own search. Listening and playing, rather than the diagnostics alone, determine whether the result is better.
 
+For lead-melody comparisons, preserve the old generator with `python -m generator.solo.audition --output build/solo_lead_auditions --capture baseline`, then use `python -m generator.solo.lead_audition --capture` and `--render`. Open `build/solo_lead_auditions/index.html` to compare baseline, initial tune, refined tune and elaboration with fixed backing or alone; the final version also has responsive accompaniment. Intermediate exports belong to the selected production branches and retain their incoming contexts. They are not independent composition runs. The accepted original theme and decorated version are injected literally only in the diagnostic controls; normal generation adapts their timed movement to the current harmony. The controls verify exact sounding pitches and durations through placement, notation and playback, and also expose what refinement/elaboration changes. The temporary reference ZIP is not a build input and its script is never executed.
+
 To inspect generated assets without building the full package, run:
 
 ```sh