Rotate a progression by n bars (positive = left, negative = right). Bar-aligned: provenance and family travel with the bars.

Extract bars start to end (1-indexed, inclusive). Bar-aligned: provenance and family travel with the bars.

Insert a CadenceState at position (1-indexed), replacing the existing one. Bar substitution: the foreign bar breaks strata/polytonal invariants, so provenance drops and those families downgrade.

Switch two bars at positions m and n (1-indexed). Treated as substitution (drops provenance, downgrades strata/polytonal families); promotable to the aligned tier via a lockstep update pair if per-bar identity is ever wanted here.

Clone bar m to position n (overwrites n with contents of m). Treated as substitution — see switch.

Extract a single CadenceState at index (1-indexed, modulo wrap) from the triad layer

Transpose a progression by n semitones. Strata provenance is anchored to ABSOLUTE pitch classes (the octatripentatonic universe has no transposition closure), so provenance and family survive only octave shifts; any other interval drops them.

Reverse a progression. Bar-aligned: provenance and family travel.

Fuse multiple progressions into one (concatenation)

Binary fuse for convenience in live coding

Interleave two progressions (alternating chords) Example: interleave [A,B,C] [X,Y,Z] = [A,X,B,Y,C,Z]

Expand a progression by repeating the WHOLE progression n times (expandP 2 on C F G A yields C F G A C F G A). Bar-aligned replication: provenance and family travel.

Bidirectional overlap: merge pitches from n bars in both directions

Forward-only overlap: merge pitches from n bars ahead

Backward-only overlap: merge pitches from n bars behind

GRID paradigm: Root locked in bass with smooth compact voice leading. Uses cyclic DP to find globally optimal voicings. First chord starts compact with root in bass; all subsequent chords maintain root in bass with minimal voice movement.

FLOW paradigm: Smoothest voice leading with any inversion allowed. Uses cyclic DP to find globally optimal voicings. Voice crossings permitted for optimal smoothness; bass doesn't need to be the root if an inversion provides smoother voice leading.

LITE paradigm: Literal voicings with first-root normalization. Returns pitches as stored, but normalized so first chord's root is in [-12,-1]. No voice leading optimization applied (only octave normalization).

Alias for lite (legacy compatibility)

ROOT paradigm: Root note only (root pitch class per chord). Extracts the root note (first element, mod 12) from each chord. Returns as single-element lists in [0,11] range.

STRATA-MODE-FLOW paradigm: a fixed pitch LATTICE grounded on bar 0. Bar 0's chroma builds a compressed-ascending stack from its root (initialCompact + normalizeByFirstRoot, root anchored in [-12, -1]); every later bar keeps that lattice's slots in place and inflects each slot to the current bar's chroma — the key signature changes, the hand position does not. Pattern index i addresses the i-th lattice slot, so a held index pedals its pitch across key areas (inflecting by accidental where the new set demands it) instead of transposing with each bar's root, and increments of 1 still ascend by one set member.

Bar n (equal cardinality — the normal case: S layers uniformly 5-PC, M layers uniformly 7-PC): the minimum-cost cyclic-monotone bijection from the anchor lattice onto the bar's PC set. Each of the n cyclic rotations of the bar's sorted PCs is realised monotonically against the anchor (slot 0 nearest bar 0's slot 0, each later slot the smallest pitch above its predecessor); the rotation minimising total |placed_MIDI - anchor_MIDI| wins (tie-break: smaller net signed displacement). A bijection — not per-slot nearest-tone, which can collapse two slots onto one pitch — so every bar stays distinct, ascending, and surjective onto its chroma, and the octave-wrap identity in Harmonic.Interface.Tidal.Bridge (index n = slot 0 + 12) keeps working.

Anchoring every bar to bar 0 (rather than chaining to the previous bar) bounds drift: each slot stays within a tritone of its anchor pitch, the pattern wrap (bar N-1 → bar 0) returns home, and a bar whose chroma equals bar 0's lands on bar 0's exact MIDI.

Bars whose cardinality differs from the anchor's (silent bars, 6-PC override edges, hand-built mixed material arriving via hasBigChroma) fall back to shiftBar — slot identity is undefined across a slot-count change. O(n²) per bar, n ≤ 7; eager forcing in Harmonic.Interface.Tidal.Bridge hoists the work to REPL evaluation time.

Construct a Progression from explicit pitch-class sets. This is the main function for composing/arranging workflow (not generation). Takes an enharmonic spelling and a list of chord pitch-class sets, returns a Progression ready for arrange.

Example: fromChords [[0,4,7], [5,9,0], [7,11,2]] --> C major → F major → G major

Legacy alias for fromChords (matches legacy prog function)

Scale source for melody mapping. Enables flexible melody construction by allowing harmony (with optional overlap) to serve as the scale source instead of explicit scale definitions.

Create melody state from scale source. Converts a ScaleSource into a Progression suitable for melody arrangement.

Construct a CadenceState from a human-readable string.

Parses root, quality, and movement from space-separated tokens. Unspecified components fall through to randomness. Prints "root quality" to the console after construction.

Examples: start <- lead "E min (5)" -- E minor, ascending 5th start <- lead "E min" -- E minor, random movement start <- lead "min" -- random root, minor quality, random movement start <- lead E -- E, random quality, random movement start <- lead "" -- fully random start <- lead "(5)" -- random root and quality, fixed movement 5

Construct a CadenceState from an explicit list of note names — the arbitrary-cardinality counterpart to lead. The first note is the root/bass; the rest become root-relative intervals (any count, so hand-built 4-note cues and beyond are first-class). Never truncates: builds via mkCadenceStatePCs, so all pitch content survives into the cue. Enharmonics follow the typed accidentals (Eb spells flat, D sharp; double accidentals accepted and resolved). An optional (N) token fixes the approach movement, otherwise it is randomized exactly like lead. Unrecognized tokens are reported and skipped; with no valid notes at all, falls back to fully random lead.

Examples: start <- lead' "Eb Gb Bb Db" -- Eb m7, random movement start <- lead' "A C E G (5)" -- A m7, ascending 5th approach start <- lead' "C E G" -- plain triad, same as lead "C maj"

Construct a CadenceState from a leadsheet chord symbol — the jazz counterpart to lead, for cueing genJ. Accepts the Bunks corpus grammar: root, quality, optional slash bass (Cm7, EbM7, G7b9, "Dm7/G"). Qualities occupy the jazz namespace (qualityIntervals), entirely separate from lead's triadic quality table, so triadic behaviour is untouched. A notated slash bass is honoured exactly: unioned into the pitch-class set and made the anchor, so "Dm7/G" cues from G with the full Dm7 sounding above it. An optional (N) token fixes the approach movement, otherwise it is randomized exactly like lead; either way the movement shapes bar 1's stored metadata only — a fresh walk departs from the functionality's hub node regardless. An unparseable symbol is reported and falls back to the corpus workhorse C m7.

Examples: start <- leadJ Cm7 -- C m7, random movement start <- leadJ "Dm7/G" -- G anchor, Dm7 above (a 9sus4 set) start <- leadJ "EbM7 (5)" -- Eb maj7, ascending 5th approach

Parse a lead string into a list of typed tokens. Each space-separated token is independently classified as root, quality, or movement.

Token type for parseLeadTokens