Fretboard string lists and Fingering positions/string-names now read
low-to-high (lowest-pitched string first), matching how chord diagrams
and tablature are conventionally written. Pass high_to_low=True to any
fretboard constructor to restore the pre-0.43 high-to-low behavior.
Design: each board keeps a private canonical (high-to-low) tone store
so the fingering scorer and GUITAR_OVERRIDES table stay untouched; a
single _orient() helper re-orients at the user-facing boundary (and,
being self-inverse, also canonicalizes custom tuning/position input).
Fingering carries its own orientation flag and presents oriented
positions/names via properties. The fingering cache key now includes
orientation so the two orderings don't collide.
to_tab() and Part.strum() now sort by pitch internally, so their output
is identical regardless of board orientation.
- All 25 instrument presets gain a high_to_low param, routed through a
canonical build path.
- Tests updated for the new default; added orientation-specific tests.
- Docs/examples flipped to low-to-high; chord_charts.py example now uses
the built-in Fingering.tab() instead of a hand-rolled renderer.
Co-Authored-By: Claude Opus 4.8 (1M context) <noreply@anthropic.com>
Acid bass (ensemble=3), 16-player strings, tabla with solo and tihai,
8-player snare line, 6-player lead synth. Showcases ensemble, ramp,
LFO, sidechain, articulations, and dynamic curves.
Co-Authored-By: Claude Opus 4.6 (1M context) <noreply@anthropic.com>
Full arrangement with three-octave square wave lead, drums, bass,
supersaw pads, and a saw solo section. Melody transcribed from MIDI.
Co-Authored-By: Claude Opus 4.6 (1M context) <noreply@anthropic.com>
Showcases ramp(), articulations, Part.hit(), filter automation,
and cross-genre fusion. 303 acid bass with tabla entering at the
peak and riding through the outro.
Co-Authored-By: Claude Opus 4.6 (1M context) <noreply@anthropic.com>
G-D-Em-C at 120 BPM. Picked intro, strummed verse, electric lead
melody, strings swell, rock drums. The most popular chord progression
in pop history.
Co-Authored-By: Claude Opus 4.6 (1M context) <noreply@anthropic.com>
Random key, tempo, reverb space, instruments, and melodies.
Melodies walk the scale stepwise (not random jumps), arpeggios
follow chord tones in order, piano walks up/down. Tabla solo
always closes with random strokes. No seed — truly unique each play.
Co-Authored-By: Claude Opus 4.6 (1M context) <noreply@anthropic.com>
Didgeridoo drone throughout, granular abyss, kalimba light,
cello surfacing, piano + quiet uke, pedal steel + theremin solo
(searching → building → soaring peak), strings/flute/harp/timpani
at the peak, 4-part tabla solo finale (whisper → ghosts → 9-tuplet
call-response → 32nd triplet cascade + grand tihai).
Co-Authored-By: Claude Opus 4.6 (1M context) <noreply@anthropic.com>
- humanize=0.2 added to all melodic parts (leads, basses, bells)
- Subtle reverb (0.1-0.2) on bass parts that had none
- Per-note velocity dynamics on all leads (was static)
- Blues lead changed from trumpet to saxophone (more fitting)
- Songs 17-18, 20-26 left untouched (already well-crafted)
Co-Authored-By: Claude Opus 4.6 (1M context) <noreply@anthropic.com>
Polyrhythm section uses musical phrases (ti-ra-ki-ta patterns)
in 5-groups, 7-groups, and 9-groups rather than mechanical grid
overlays. Reverb pulled back to 0.4 across the song.
Co-Authored-By: Claude Opus 4.6 (1M context) <noreply@anthropic.com>
Orchestral piece in 22-shruti JI with choir vowel pads, timpani
rolls, bansuri, cello, sitar, strings, harp, djembe→tabla→extended
tabla solo finale (whisper→ghosts→call/response→9-tuplets→32nd
triplet cascades→grand tihai→slam).
Co-Authored-By: Claude Opus 4.6 (1M context) <noreply@anthropic.com>
Calculated edm_start from actual section lengths so pad/sub/sitar2
don't bleed into the tabla solo.
Co-Authored-By: Claude Opus 4.6 (1M context) <noreply@anthropic.com>
Solo now has 4 distinct parts:
1. Whisper — single hits with space, breath
2. Ghosts emerge — 16th note ghost fills between accents
3. Call and response — dayan vs bayan, 9-tuplet break
4. Blazing — 32nd triplet cascades, rapid alternating hands,
9-against-4 polyrhythm, grand tihai (3x, each louder), slam
Co-Authored-By: Claude Opus 4.6 (1M context) <noreply@anthropic.com>
Tabla solo with ghost notes, 32nd triplet cascade, tihai, then
slams into house beat. Sitar volume 0.22 → 0.4 in EDM section.
Co-Authored-By: Claude Opus 4.6 (1M context) <noreply@anthropic.com>
Single score, one reverb space (Taj Mahal), tanpura drone throughout.
Piano arpeggios alone → cello joins → harp/oboe/flute with djembe →
sitar over tabla → EDM section with sitar, synth pad, 808 sub, house
drums. 28 bars, 5 movements.
Co-Authored-By: Claude Opus 4.6 (1M context) <noreply@anthropic.com>
Tanpura drone intro, quiet sitar Yaman phrases, tabla solo building
from gentle theka through ghost notes to blazing tiri kita with
bayan pitch bends, tihai, dramatic silence, slam finish. Taj Mahal
reverb throughout.
Co-Authored-By: Claude Opus 4.6 (1M context) <noreply@anthropic.com>
Every song now has: stereo panning, convolution reverb (plate/cathedral),
humanize (0.2), detune (8-12) on pads, sidechain on electronic tracks,
lowpass on bass, delay on leads. No melodies changed — just better sound.
Co-Authored-By: Claude Opus 4.6 (1M context) <noreply@anthropic.com>
Sparse triangle koto over E hirajoshi scale, Taj Mahal reverb,
sine drone, FM bells. Silence as instrument.
Co-Authored-By: Claude Opus 4.6 (1M context) <noreply@anthropic.com>
All 15 drum sounds rewritten with inharmonic partials, proper
transients, multi-mode resonance, and saturation. Song #19:
Dance Party at the Reitz House — for Sarah and Malachi.
Co-Authored-By: Claude Opus 4.6 (1M context) <noreply@anthropic.com>
Pure sine and triangle only. Ab major waltz at 72bpm. Cathedral
and Taj Mahal reverb. Triangle legato melody with glide.
Co-Authored-By: Claude Opus 4.6 (1M context) <noreply@anthropic.com>
Dual 303s arping in opposite directions on opposite sides,
supersaw pad with full spread, ping-pong FM bells, sidechain sub.
Co-Authored-By: Claude Opus 4.6 (1M context) <noreply@anthropic.com>
- Part.arpeggio() with 5 patterns, octave spanning, division control
- Roman numeral parser handles bVI, bVII, bIII, #IV prefixes
- song_showoff.py: generative composition using every feature,
different every time (4 moods, matched keys/drums/effects)
Co-Authored-By: Claude Opus 4.6 (1M context) <noreply@anthropic.com>
- Soft-clip distortion (tanh waveshaping) with drive and mix controls
- Dub Delay Madness: separate snare track with massive delay/reverb
- Liquid DnB: 174bpm rollers with flowing lead
- Late Night Texts: Drake-style trap with 808 bass + distortion
- 16 total example songs
Co-Authored-By: Claude Opus 4.6 (1M context) <noreply@anthropic.com>
Every song now uses the full effects chain. Added 3 new songs:
Kingston After Dark (dub), Minimal Techno, Gospel Shuffle.
Each demonstrates different effect combinations.
Co-Authored-By: Claude Opus 4.6 (1M context) <noreply@anthropic.com>
- All 10 songs now use score.part() for lead, bass, and chords
- Part.add() and .rest() accept raw float beats alongside Duration enums
- _RawDuration duck-type wrapper for arbitrary beat values
Co-Authored-By: Claude Opus 4.6 (1M context) <noreply@anthropic.com>
Bossa nova, bebop, salsa, afrobeat, reggae, funk, 12/8 blues, samba,
jazz waltz, and house — each with drum patterns, chord progressions,
and hand-written melody lines rendered through the synthesizer.
Co-Authored-By: Claude Opus 4.6 (1M context) <noreply@anthropic.com>
Gamelan uses its own tone names (nem, pi, barang, etc.), not Western
note names. Fixed tonic from C4 to nem4 and added pelog nem/barang
modes. Replaced miyako-bushi with iwato and kumoi (actual scale names
in the system). Added ValueError to exception handling.
Co-Authored-By: Claude Opus 4.6 (1M context) <noreply@anthropic.com>
Melodies: Twinkle Twinkle, Ode to Joy, Happy Birthday, Fur Elise
Progressions: Pop I-V-vi-IV, 12-bar blues in A, Jazz ii-V-I turnaround
Interactive menu for picking songs. Clean helper functions for
melody and chord progression playback.
Co-Authored-By: Claude Opus 4.6 (1M context) <noreply@anthropic.com>
CLI (pytheory command):
pytheory tone C4 — frequency, MIDI, overtones
pytheory scale C major — notes and intervals
pytheory chord C E G — identify, harmony, tension
pytheory key C major — full key analysis with diatonic chords
pytheory fingering Am — ASCII guitar tab
pytheory progression C major I V vi IV — build from Roman numerals
pytheory detect C D E G — detect the key
Jupyter notebook (examples/tutorial.ipynb):
46-cell interactive tutorial covering tones, scales, modes, keys,
chord analysis, progressions, world music systems, guitar fingerings,
and building a song from scratch.
Co-Authored-By: Claude Opus 4.6 (1M context) <noreply@anthropic.com>
New features:
- Chord.from_name("Am7") — build chords from chart names
- Chord.__str__() — prints "C major" instead of raw tones
- Interval constants: Interval.PERFECT_FIFTH, MAJOR_THIRD, OCTAVE, etc.
- PROGRESSIONS dict: 8 common progressions as Roman numeral tuples
("I-V-vi-IV", "ii-V-I", "12-bar blues", etc.)
- Tone.enharmonic: C# → "Db", natural notes → None
- Key.__str__(): "C major"
Fix: docs CI now installs all dependencies (uv sync --group docs)
so autodoc can import pytheory modules. API reference pages were
blank on GitHub Pages because pytuning/scipy weren't installed.
New example: examples/explore.py — comprehensive demo of the full API.
393 tests.
Co-Authored-By: Claude Opus 4.6 (1M context) <noreply@anthropic.com>
kennethreitz