Generate a walking-bass line. Entropy is derived from the progression's harmonic character; the caller supplies only the progression and a voice function (fund or root) defining each bar's beat 1.

Octatripentatonic-aware walking-bass line. Pass 1 (beat 1s from voiceFn) and Pass 2 (beat 3s) are unchanged from walkLine; Pass 3 (beats 2 & 4) swaps the chromatic-±1 candidate path for tier-scored strata / overlap / mode candidates supplied per bar via ChromaSources. Caller is responsible for matching length chromas to progLength prog (mismatch falls back to the legacy walkLine path for safety).

walkLine with an optional per-bar dynamic vector coupling the beat-1 register arc to the piece's dynamics (see kappaDynArc). Nothing is byte-identical to walkLine.

walkLineP with the optional dynamic vector of walkLineDyn.

Per-bar chroma sources for the walkLineP Pass-3 connector pool. csStrata is the bar's full 5-PC strata chroma; csMode is the full 7-PC mode chroma. Both are supplied by the caller (typically derived from strataLayer / modeLayer of a genP-origin ProgressionContext).

Entropy derived from the progression's harmonic character. Calm diatonic progressions land near 0; angular / tritone-heavy progressions approach 1. Deterministic: same progression always yields the same value.

Mean per-bar consonance of the progression in [0, 1], 1 = consonant. dissonanceScore grows with chord cardinality (major/minor triads score 6 while the most consonant tetrads score 19), so each bar is normalised against anchors for its own chord size before averaging — otherwise every tetrad progression would read as maximally dissonant. Consumed by the walk to scale strong-beat strictness and connector tension licence; orthogonal to progressionEntropy, which is dominated by root motion.

Per-bar regional key centre, inferred from chord qualities over a local window.

BOUNDARY: this is a PURE, DERIVED quantity computed over a finished progression, consumed only inside the walk's connector selection. The generation system deliberately operates without key awareness — each state is abstract and deterministic, upholding the Markov property — so this function must never feed back into generation, become part of any state, or appear in a generation-path signature.

Heuristics (weights in votes): a dominant-quality chord is V of its key; a major-quality chord is I (strong) or IV (weak), plain major triads also V (weak); a minor-quality chord is ii (strong), vi, or iii (weak); half-diminished is vii. Relative major/minor are treated as one pool and reported as the major-pool pitch class. Each bar takes the key with the highest vote total over the surrounding window (cyclic, +/- 2 bars); ties resolve to the lowest pitch class.

Deterministic mixing of progression shape and entropy into a seed.

Lowest MIDI in [lowestMidi, highestMidi] whose pitch class equals pc. Always in range: the register spans more than an octave, so the lowest PC-matching value sits at most 11 semitones above lowestMidi.

In-register instance of a pitch class nearest registerCenter (lower on tie). Anchoring bar 0 here gives the greedy beat-1 chain headroom in both directions and evens out the single-instance asymmetry of the PCs that occur only once in the register.

Walking-bass register and metre constants. lowestMidi 28 and highestMidi 48 bound the line to a double-bass register; beatsPerBar is 4 (the walking idiom is quarter-note based); registerCenter 38 is the pitch the line is drawn back toward when free to choose.

Walking-bass register and metre constants. lowestMidi 28 and highestMidi 48 bound the line to a double-bass register; beatsPerBar is 4 (the walking idiom is quarter-note based); registerCenter 38 is the pitch the line is drawn back toward when free to choose.

Walking-bass register and metre constants. lowestMidi 28 and highestMidi 48 bound the line to a double-bass register; beatsPerBar is 4 (the walking idiom is quarter-note based); registerCenter 38 is the pitch the line is drawn back toward when free to choose.

True iff the chord contains no perfect-fourth/fifth (5 or 7 semitones) between any pair of tones. Covers diminished triads ([0,3,6]), augmented triads ([0,4,8]), diminished sevenths ([0,3,6,9]), and whole-tone hexachords — synthetic shapes with no privileged fifth, where every chord tone is equally anchor-worthy.