khodowany
4.6 KiB
Musical capability and limits
| Capability | Representation / live operation | Validation |
|---|---|---|
| New source-influenced theme | Features throughout original head → complete joint pitch/rhythm statement | Source change test; explicit feature evidence; whole-head near-copy check |
| Recognizable return | Original realized signature retained, with harmonic adaptation | Multi-event rhythm/interval contract; no one-note perfect match |
| Answer / extension / fragment | Data-defined chooser in normal themes.phrase_candidates |
Independent positive operation-realization tests |
| Free connected movement | Complete route conditioned on actual incoming pitch and future destination | All mapped spans, full route export correspondence; no mandatory basic endpoint |
| Rhythm groups | Binary, complete ternary and supported sixteenth groups; delayed entrances and cross-bar notes | Incomplete tuplet/residual drift rejected; imported timing never quantized |
| Open / local settle / completion / handoff | Open alternative; intermediate holds; cadential and source-boundary terminal contracts | Actual sounding hold, release and post-target motion checks |
| Two-sided join revision | Fixed outer endpoints, editable material on both sides | Full affected harmony, identifying features and protected tails revalidated |
| Approaches / enclosures / connections | Complete target-relative formulas in joint phrase alternatives | Exact octave, timing, preparation where required and complete resolution |
| Optional color | Quality/function/degree policy, distinct from written chord requirements | Full duration, exclusions/omissions, bounded exposure and specified resolution |
| Anticipation | Bounded early onset into actual future harmony | Pre-boundary contract and arriving collection/chord checked independently |
| Prepared suspension | Explicit actual preparation and delayed downward resolution | Preparation, deadline, target and mapped sounding interval |
| Blues inflection | Two conservative prepared semitone-resolution rules | Actual preparation and appropriate chord target; no blanket exemption |
| Guitar domain | Both roles all six strings, frets 1–12, no open strings | Full phrase path; ties keep exact position |
| Sparse accompaniment | Source-only canonical shells/compact voicings with rhythmic space | Written degrees/bass responsibility and repeated-form consistency |
Not every eligible operation is guaranteed to survive a bounded search or occur in either current song. Trace counts distinguish proposed, valid and retained candidates. A zero selected count is not evidence of a feature being absent from the code, and merely loading data is not evidence of reachability.
Known boundaries: sources must satisfy the existing importer/arrangement form contract; ambiguous exporter harmony is not repaired from a target. Exact unsupported chord stacks still fail scale mapping contextually. Physical validation is a limited hand-region/travel model, not a complete ergonomic guarantee. Shape-changing treatments compete over provisional complete phrases; this is not an unbounded jointly optimized chorus. Cross-window continuation still uses bounded lookahead, so phrase partition choices can change winners even though evaluating the same sounded candidate is partition-invariant.
The additional source review uses independently transcribed historic-source excerpts, kept outside data/, after production vocabulary freeze. These are transfer diagnostics rather than a claim of comprehensive coverage of every standard, meter or arrangement convention. Optional four-target comparison uses guitar-written normalization once and explicit form alignment; original encoded evidence remains available. No auditory judgment is claimed from event/signal checks alone.
Final additional-source run: all six independent roles completed for each of After You've Gone, Indiana and Hindustan (18 role generations), with exact source excerpt timing and ordinary physical validation. the final transfer report records hashes, times and scope. No vocabulary was fitted from this run. Short excerpts are useful evidence of source dependence and basic transfer, not evidence that the entire standards' forms or every original piano chord are supported.
A repeated attack is now a named low-level primitive, distinct from a zero step smuggled into the nonzero interval catalog and distinct from one tied sustain. The complete-route test retains the exact authored descending path while permitting additional explicitly constructed chord/repetition routes. This deliberately changes the old one-candidate expectation, not the endpoint or scale constraint.