Style notes: what we learned → what changed

Research for the eight dial styles, and how each finding landed in code. The point was breadth: outputs felt mechanical because every style had 2–4 fixed eight-bar progressions, 1–2 phrase layouts, one texture that dominated, and no inverted chords at all (so every bass leapt root to root, like a pop song).

Evidence labels. Score = read in a public-domain score encoding (Mutopia LilyPond sources). Corpus = counted over expert annotations (DCML Beethoven sonatas). Analysis = a freely readable published analysis or liner note. Own words = the musician's own teaching or site. Inferred = a stylistic suggestion, not a transcription. Nothing here claims that commercial sheet music exists unless a page showing it was actually fetched (Elijah Fox's shop, noted below).

Where things live: enums in src/plan/schema.ts; per-style archetypes and harmony books in src/plan/styles.ts; phrase layouts in src/plan/forms.ts; textures in src/render/textures/*.

What changed for every style

Before	After
2–4 whole 8-bar progressions per style and mode; 16/32 bars = the same ones concatenated	A harmony grammar: 2-bar heads, travelling units and tails, verified 4-bar phrases, chord cycles, pedals, codas, finals, substitutions. A unit test asserts ≥ 40 distinct 8-bar progressions per style in 60 seeds
1–2 role layouts per length, copy-pasted across styles	11 forms × 4 lengths (period, sentence, spinning_out, binary_dance, arch_return, additive_loop, mosaic_pairs, layered_build, vamp_and_tag, call_and_response, free_fantasia)
Independent priors → "presto chorale"	A character is decided first (12 of them); each style has 5–6 archetypes that override priors jointly, so a sarabande is slow and in 3/4 and sung
50 chords, root position only	107: inversions (I6, I64, V65, V43, V42, ii65, iv6 …), secondary dominants, pedal chords (IV64, V7_over_I), Neapolitan, chromatic mediants, mixture and jazz colours. The renderer puts the label's bass note at the bottom
10 textures	23 (+ per-piece figure variants inside the old ones; bossa_comp for Laufey / Fox groove)
5 contours, 7 roles	9 contours (wave, leap_fall, drop_rise, pendulum), 11 roles (sequence, echo, surprise, dissolve)
Flat velocities per bar	Within-bar hairpins, metric accent and touch that depend on the character; restatements replay the opening tune
I–V–vi–IV loops (Glass major had only that)	Removed from every book; a guard re-rolls any progression whose roots spell the loop in any rotation (unit-tested over 480 plans)

Live Jev got the same treatment (src/planner/jev/requests.ts, src/planner/JevPlanner.ts), driven by what its real distributions looked like once a key existed:

• Asked "what is most characteristic of Beethoven?", Jev answered C minor / block chords / allegro at 90–100 % — every time. Now request 1 asks only about character: one Choice (most typical) plus one Noul per character ("is this a real part of their output?"). Code combines them, draws one, and conditions every later question on it. Measured: Beethoven lyrical song → A♭ major, adagio, p, period; playful wit → D major, 3/4, scherzo.
• Per-bar role questions (60 of them, asked in parallel) came back as "statement, development, half cadence ×4, cadence". Replaced by one form Choice that code expands. The fan-out request fell from ~16k to ~3.7k tokens.
• Sampling squared the probabilities, which erased what variety there was. Now nucleus sampling (top 90 %) at face value, a novelty policy that keeps sampled progressions from squatting on the tonic, and an argmax final bar.

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Bach

Learned

• Score (BWV 846, Mutopia): the C-major prelude is almost entirely inverted chords — I, ii4/2, V6/5, I, vi6, V4/2 of V, V6, I4/2 … then a dominant pedal (bars 24–31) and a tonic pedal (32–35). Figure order 1-2-3-4-5-3-4-5, twice a bar; the last bars break into a free sweep and a block chord.
• Score (BWV 847): bars 1–4 are i – iv6/4 – vii°7 – i over a tonic pedal; the figure is outer tone, pivot, lower neighbour, pivot, inner tone, pivot, lower neighbour, pivot, mirrored in the left hand.
• Analysis (Bruhn; Open Music Theory; Oxford chorale notes; de Clercq 2015): Fortspinnung = opening, sequence, cadence; binary dances cadence in V (major) or III (minor) at the double bar; chorale cadences are 73 % authentic, 21 % half; minor chorales almost always end major; lament basses.
• Score: the Inventions' meters are 4/4 ×8, 3/8 ×3, 3/4 ×2, 9/8, 12/8; the Goldberg aria cadences in I, V, vi, I at bars 8/16/24/32.

Changed

• Archetypes: prelude (flowing_perpetual), invention (playful_wit), chorale (solemn_hymn), sarabande/aria (lyrical_song), gigue/minuet (dance_lilt), minor toccata (stormy_drama).
• Harmony book seeded with the verified phrases above (BWV 846 bars 1–4, 5–8, 8–11, 16–19, 20–23, 24–27, 32–35; BWV 847 bars 1–4; Goldberg bars 1–8; chorale formulas; diatonic and chromatic laments); Picardy third among the minor finals.
• Forms: spinning_out (its 32-bar layout is the prelude's plan) and binary_dance (its 32-bar layout puts cadences where the Goldberg aria does).
• Textures: toccata_perpetual (the 847 figure), aria_walking_bass (with on-the-beat mordents, sarabande and siciliano rhythms), stride_dance for minuets; the prelude figure gained sibling patterns and the penultimate-bar sweep.
• Contours: pendulum (compound melody) and leap_fall (gap-fill).
• Meters: 9/8 and 12/8 sit on the dance and flowing-prelude priors (gigues, compound preludes), next to 6/8.

Beethoven

Learned

• Corpus (DCML annotations of 64 sonata movements): the commonest labels in major are I, V, I6, V7, V6, V4/3, V4/2, cadential 6/4, IV, ii6, V6/5; in minor i, V, V7, i6, cadential 6/4, iv, V6 … iii is rare. Secondary dominants: V/V ≫ V/IV > V/ii > V/vi. Mixture: iv, iv6, bVI. Cadences: PAC 621, HC 415, IAC 284, deceptive 15. One chord is often held 2–4 bars.
• Corpus / score: Moonlight bars 1–5 are i – i4/2 – VI→bII6 – V7 – i (the third chord is the Neapolitan sixth, not ii°6); Op. 2/1 is Schoenberg's model sentence (i, i, V6/5, V6/5 | i, vii°6, ii°6, V + fermata); Waldstein opens I → V/V → V6 and restarts a tone lower on bVII; Für Elise is i–V–i–V then III–VII–i–V; Tempest finale i–iv–bII–V6.
• Analysis: dynamics avoid the middle — pp against ff, crescendo cut off by a sudden piano, chains of sf. Opening meters of 91 movements: 3/4 25, 2/4 24, 4/4 16, 6/8 10.

Changed

• Archetypes: storm, adagio cantabile, Moonlight stillness (C♯ minor added as a key), heroic, scherzo, solemn march. mf and mp removed from the priors.
• Harmony book rebuilt on the verified phrases; holds: true lets a chord sit across a barline; Neapolitan, augmented-sixth (bVI7) and vii°7/V added.
• Forms weighted to sentence and period; new dynamic shape build_then_drop.
• Textures: tremolo_storm (Pathétique Allegro), rolling_nocturne (the tune waits one bar, then a dotted upbeat into a long note), pulsing_chords (Waldstein; the Allegretto ostinato), scherzo_staccato. Alberti got three figures.
• Meters now include 2/4 (24 of 91 opening movements in the piano-sonata corpus sit there), wired into Beethoven priors next to 3/4 and 4/4.

Debussy

Learned

• Score (Arabesque 1, Clair de lune, Danseuses de Delphes, Voiles — Mutopia): bars are routinely duplicated (Clair 27 = 28, 31 = 32; Arabesque 6–7 = 8–9; Danseuses 1 ≈ 2); Arabesque opens with parallel first-inversion triads IV6–iii6–ii6–I6 and reaches an unresolved V9; Clair opens I6 with no root in the bass, sits four bars on ii9, and ends I – iii – bIII6 – I, ppp morendo — no dominant. 85–90 % of dynamic markings are p or softer.
• Analysis (DeVoto; Varela on La fille; Pearson guide on Estampes; Wikipedia): closes are plagal, ii–I, bVII–I, v–I, Phrygian bII–i, or a minor piece brightening to major; planing of triads, ninths and hollow fifths; pedal points; pentatonic on the black keys (D♭, G♭, B, E, F♯ dominate); Cathédrale is an arch with the return as an echo.

Changed

• Archetypes: haze, arabesque flow, stillness (Des pas, Cathédrale), song (La fille, Rêverie), cakewalk wit, whole-tone veils. G♭ and B major added.
• Closed tails contain no V7–I; verified phrases seeded; finals are added-sixth and added-ninth tonics; the ii9 pedal is in pedals.
• Forms: mosaic_pairs (2-bar ideas said twice) and arch_return (echo return, dissolve ending). Palette modal_dark (Mixolydian / Phrygian).
• Textures: bell_organum, melody_over_ostinato, chordal_melody; planing picks one of three shapes per piece; floating rhythms may enter off the beat.
• The melody scale now bends to chromatic chord tones, so a line over bVI or II doesn't rub against it.
• 9/8 is now a first-class meter (Arabesque compound triple), in Debussy priors next to 6/8.

Philip Glass

Scores are in copyright; nothing here relies on sheet music. Sources are liner notes (Karis, philipglass.com), theses (Wu on Opening; Carroll on the Études; Delport on the Tirol Concerto), the IRCAM survey, and Wikipedia.

Learned

• Analysis: "a series of chords, often mere triads, repeated as in a theme and variations", related by thirds and common tones; pre-dominants avoided; six-four chords used freely; the same cycle returns with a new bass — inversion as variation. Verified cycles: Mad Rush (F major ↔ A minor over E, i.e. bVI ↔ i6/4), Étude 17 / Tirol (i–bVI–bIII–V, i–bVI–bVII–V7, i–bIII–V–V7), Opening's three loops with a "loop breaker" bar, Einstein's three-chord i–bVII–bIII, The Hours' Imaj7 ↔ i7. Cycles are 2, 3, 5 or 8 chords long as often as 4. Opening is F minor (the old guess, C minor, was wrong).
• Dynamics are per-block terraces and subito changes, not an arch; pieces stop on a low tonic or a tonic six-four rather than cadence.
• Not verifiable without the scores, so not encoded: the exact chords of Metamorphosis One/Two, the Satyagraha aria cycle.

Changed

• The old book's I–vi–IV–V and i–bVI–bIII–bVII loops are gone; loops holds the verified cycles, subs re-voices them on later passes, surprises is the breaker bar, finals include i64 and IV64.
• Forms: additive_loop, layered_build. Key priors moved to F/G/A/D minor.
• Textures: melody_over_ostinato (Metamorphosis), pulsing_chords (with the Étude 6 single repeated note), displaced_arpeggio, interlocking_hands; minimal_cells picks one of three cell families per piece.
• Second pass, after listening: it was still too locked. The first version hammered one figure for sixteen bars, which is the caricature, not the music — the sources above all describe process (Two Pages adds a note per repeat; Opening swaps a "loop breaker" bar; Tirol gives each section a new bass; Mad Rush alternates blocks). So: minimal_cells now moves one stage every two bars — bare cell → one note added → rotated to start a note later (phase) → both, with a colour tone on top — then repeats the cycle an inversion higher, thinning the left hand to a slow bass in one stage of four; loop-built harmony switches to a second cycle for the middle of the piece and returns to the first to close; the additive forms trade plain restatement bars for development / sequence / echo; minimal_cells fell from 45 % to 28 % of the pulse archetype (20 % overall) in favour of displaced_arpeggio, interlocking_hands and melody_over_ostinato; static contours fell from 45 % to 28 %. The brief handed to Jev now describes the process rather than the ostinato.

Laufey

Scores are in copyright; nothing here is a transcription. Sources are public bios, interviews and album notes (Typical of Me, Everything I Know About Love, Bewitched). She replaced Nahre Sol on the dial: Nahre’s eclectic mix was hard to replicate and sat too close to Glass / Fox / Zimmer; Laufey is a contemporary woman with a clearer, song-shaped jazz-pop idiom.

Learned

• Own words / bios: Icelandic-Chinese singer-songwriter pianist; jazz standards and mid-century pop as the home language; writes at the piano for voice. Intimate, romantic, unhurried. Major-key song forms more than through-composed miniatures.
• Analysis / inferred: swinging or lightly syncopated accompaniment under a clear singing melody (chordal melody, alberti-ish broken chords, soft stride); ii–V colour, major sevenths, occasional chromatic approach; not the dense ninth/thirteenth stacks of modern jazz piano. Soft dynamics. Distinct from Elijah Fox on the same dial: Fox is impressionist/psychedelic jazz miniatures with displaced arpeggios and ambient haze; Laufey is song-shaped jazz-pop / standards energy — clearer melody and groove.

Changed

• Archetypes: lyrical song (high), warm groove (high), dreamy haze (medium), playful wit (low-medium), meditative stillness (low).
• Forms: period, arch_return, vamp_and_tag, call_and_response. holds: true.
• Textures: chordal_melody, alberti_melody and stride_dance lead; displaced_arpeggio and interlocking-hand process music stay off the book.
• Harmony: major-key ii–V–I and I–vi–ii–V families, inversions for a walking bass, light maj7 colour; no I–V–vi–IV. Minor book is standard jazz-ballad (i–iiø–V–i), not stacked ninths.
• Instruments: grand piano first, electric piano as a light colour.
• Brief names no other dial composer.

Elijah Fox

His own store sells official scores (elijahfoxofficial.com/collections/sheet-music — page fetched; contents not seen). The harmonic evidence below is from his own lessons, not from those scores.

Learned

• Bios (Wikipedia, agency, Nord, venue pages) describe "jazz, Impressionism, and psychedelic soul"; Oberlin-trained (Sullivan Fortner, Billy Hart). Neo-soul appears only as a secondary flavour; no source calls him a gospel player, and "felt piano" is unverified — both were in the old brief.
• Own words (Flypaper / Soundfly lessons): City in the Sky is modal mixture — A♭maj7 (bVI, from C minor) against Fmaj7 (IV, from C major), then Cmaj7(♯5) with F6, closing on a vi – V – ♯ivø7 – biii – ii walk. His displacement lesson regroups continuous sixteenths over F–9 and C–9 as 5+5+6, 7+5+4, 4+3+5+4. Syllabus: repeated-note runs, inner-voice movement, chordal melodies, loops, AABA.
• Low-reliability metadata suggests triple meter and sharp keys are common.

Changed

• Brief rewritten. Archetypes: haze, song, groove (the neo-soul side, 20 %), pattern flow, ambient stillness. Keys no longer flat-only; 3/4 is first-class.
• Harmony: the three verified progressions lead the book; ii–V, backdoor and tritone material kept as a labelled generic minority; open endings and vamps outweigh closed cadences; finals are held colour chords (Imaj7s11, I6_9).
• Textures: displaced_arpeggio (his accent groupings, verbatim), chordal_melody (inner voice sliding by half-steps). Form vamp_and_tag; its 32-bar layout is AABA.
• New chords for him: Imaj7s5, IVadd6, sharp_iv_half_dim7, biii7, iv_add6, bII7, V9sus4, bVII9.

Chopin

Scores are public domain; the book is modelled on well-known nocturne, waltz, mazurka, prelude and ballade cadences rather than a bar-by-bar corpus count.

Learned

• Score / analysis (Op. 9/2, Op. 27, Op. 28 preludes, mazurkas, ballades): a singing right-hand cantabile over rolling left-hand figuration; mazurka and waltz lilt in triple meter; études as unbroken figuration; ballades and scherzos as storm. Favourite keys sit on the flat side and on C♯ / B / F♯ minor. Harmony stays functional: secondary dominants, Neapolitan sixths, cadential 6/4, clear V–I and half cadences, with chromatic approach over a diatonic frame. Pedal is assumed.
• Inferred from the same repertoire: character mix weights nocturne and dance above étude, ballade, stillness and wit.

Changed

• Archetypes: nocturne (lyrical_song), mazurka/waltz (dance_lilt), ballade/scherzo (stormy_drama), étude (flowing_perpetual), slow prelude (meditative_stillness), light waltz joke (playful_wit).
• Harmony book seeded with nocturne and waltz cadences (ii6–I64–V7–I, V43–I6–V7–I, Neapolitan i–i42–bII6–V7); holds: true.
• Textures: rolling_nocturne, alberti_melody, chordal_melody, stride_dance, dramatic_chords, broken_chord_prelude. Grand piano.
• Brief names no other dial composer.

Hans Zimmer

Scores are in copyright; nothing here is a transcription. Sources are liner notes, published film-music analyses, and the well-known piano/hybrid cues of the 2000s–2020s (ostinato builds, pedal drones, minor-key gravity, late surges).

Learned

• Analysis / inferred: slow-building layered ostinatos; simple diatonic or modal loops that escalate rather than rotate additively; melody over a repeating left-hand figure; pedal drones; sparse openings that surge late; occasional warm major anthems. Pulse + crescendo drama, not cell-process minimalism as the only mode.
• The four-chord pop loop (i–bVI–bIII–bVII and I–V–vi–IV) is still banned. Closest film-score loops that stay legal: i–bVI–bVII–V, i–iv–bVI–V, held i–bVI drones, plagal and modal closes.

Changed

• Archetypes: ostinato pulse, heroic anthem, hymn/processional, drone stillness, storm/action, restless layered search.
• Forms: layered_build, additive_loop, vamp_and_tag, arch_return.
• Textures: melody_over_ostinato and pulsing_chords lead; minimal_cells is a minority colour. Dynamics prefer crescendo and late_surge. holds: true. Instruments: grand piano, strings, electric piano.
• Brief describes the build-and-melody idiom without naming another dial style.

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Harmonic rhythm and motif (second pass, 2026-09-18)

A repertoire-vs-output gap pass found two structural holes that no amount of harmony-book breadth fixes: every bar carried exactly one chord, and a sequence or restatement bar reused the previous bar's rhythm but drew a fresh, unrelated line for its pitches. Evidence, from public-domain MIDI analysed locally (Mutopia encodings; nothing under docs/ref-midi/ ships):

Piece	Bars with two harmonies	Bars on the previous bar's harmony	Longest hold
Bach, WTC I prelude in C (BWV 846)	0 %	9 %	2
Bach, Invention 1 (BWV 772)	41 %	10 %	3
Chopin, Prelude Op. 28/4	27 %	16 %	3
Chopin, Prelude Op. 28/6	31 %	36 %	4

In the prelude 33 of 34 bar pairs share the top line's rhythm exactly: the whole piece is one figure carried onto each new chord. In the invention 15 of 21 pairs do, mostly as sequences. (The DCML Beethoven corpus notes above already said "one chord is often held 2–4 bars"; the living-artist styles are inferred from the traits in their sections, not from transcriptions.)

Changed

• BarPlan.chord2 (optional): a second harmony from the half bar (the third beat in 3/4). Each harmony book has splits — [approach, arrival] pairs such as ii6/5–V7, I6/4–V, ii7–V7 — and the heuristic planner applies one to the bar that arrives on a matching chord where a phrase closes, pauses or runs on. Glass and Zimmer have none: their harmony never moves faster than the bar. Jev gets an extra Choice on those bars only (in the same request, so no extra round trip): keep one harmony, or name the approach chord.
• holds: true now does something: a piece decides once whether its opening idea sits on one chord for two bars, whether its chord cycle moves at half speed (each chord two bars — the drone, the held block), and whether a phrase may open on the chord the last one closed on.
• The renderer plays a split bar by rendering it on both chords with the same random draws and memory, then splicing at the split tick; a crossing note holds through only when every pitch is a common tone. No texture had to learn about mid-bar harmony.
• Motif memory: a line remembers its statement (with its chord) and its previous bar's figure. sequence / echo move the previous figure onto the new chord by the interval between the roots, diatonically, so a tonal sequence changes quality with the harmony. A restatement over a related chord (two common tones) keeps the tune and settles strong beats on the new harmony; over a distant chord it is transposed. development states the head of the motif on the new chord and repeats the fragment a step on.

Measured over 40 sampled 16-bar plans per style (heuristic planner):

Style	Held bars before → after	Split bars	Sequence/echo with the previous bar's shape	Restatement with the statement's shape
Bach	0 → 0 %	8 %	10 → 22 %	42 → 57 %
Beethoven	5 → 8 %	9 %	28 → 62 %	56 → 82 %
Chopin	1 → 9 %	8 %	19 → 57 %	36 → 60 %
Debussy	3 → 20 %	3 %	29 → 61 %	46 → 48 %
Glass	9 → 30 %	0 %	56 → 81 %	41 → 45 %
Zimmer	6 → 25 %	0 %	33 → 80 %	23 → 41 %
Laufey	2 → 12 %	7 %	18 → 65 %	25 → 73 %
Fox	2 → 20 %	2 %	19 → 40 %	28 → 44 %

Bach's low sequence figure is the measure, not the music: its running lines are stepwise fills between transposed anchors, and the prelude figure has no melody line at all (it is transposed by construction).

The theme is a phrase (third pass, 2026-09-18)

Measured against song-shaped repertoire (Chopin Op. 9/2, Träumerei, Mendelssohn Op. 19/6 and 30/6, Pathétique II, Schubert and Foster songs — public-domain MIDI analysed locally; method and tables in docs/fable-context/FIDELITY_FINDINGS.md), the longest stretch of melody that ever came back in a generated piece was 1.8 bars. In the nocturne it is 4 (bars 5–8 are bars 1–4, ornamented); in the Pathétique slow movement it is 8 (bars 9–16 are the theme an octave higher). A restatement recalled the first bar's motif and the rest of the phrase was redrawn, so a period read a b c d / a e f g.

Changed

• themeSources(form, bars) in src/plan/forms.ts expands the form label into "bar n brings back bar m": a phrase returns the first earlier phrase of the same material that opened the same way, bar for bar up to its cadence. Cadences, half cadences, surprises, dissolves and the last bar stay fresh; a loop keeps a two-bar hook; a duplicate phrase says its idea twice; a fantasia never repeats. No new label: the form already said all of this.
• The renderer remembers every bar's figure and rhythm per line and recalls a returning bar the way a restatement was recalled (kept over a related chord, transposed onto a distant one), a third higher when it returns as the climax.
• Both planners give a returning bar its source's contour.
• Longest returning run over 192 sampled pieces: 2.8 → 3.3 bars (period 2.5 → 3.6, sentence 3.9 → 5.5, Chopin 2.5 → 4.0); bars 5–8 resembling bars 1–4 in a period: 0.50 → 0.70 (the nocturne: 0.81).

Still missing, in order: the tune never rests and never starts before the barline; the arrangement does not change when the tune returns; no intro bars.

Phrasing, 12/8 nocturnes, bossa (fourth pass, 2026-09-19)

Gap-study items 1–2, plus the Zimmer same-figure layer (item 3) — see docs/fable-context/REFERENCE_PLAN_GAP.md.

Changed

• Closed global phrasing: on_the_beat | upbeat | breathing | long_breathed. On GLOBAL_FIELDS next to arrangement / pedal, so both planners and the Jev globals request pick it up with no new op. Hand-edited plans default from character (lyrical → breathing; stillness / haze → long_breathed; perpetual / stormy / pulse → on_the_beat). The renderer rests phrase ends and writes pickups into returns from this label, not from character alone — a stormy ballade can still breathe.
• Chopin nocturne / lyrical_song meter prior now peaks on twelve_eight (the enum already existed; Op. 9/2 is 12/8). Argmax picks it.
• Laufey: texture bossa_comp (bass on 1 and the and of 2, 3rd+7th shells on partido-alto off-beats, tune on top). Major book phrases now include I–V7/IV–vi7–iv6, I–Imaj7–IVmaj7–iv, and ii9–V13–Imaj7. Song archetypes favor the texture and those phrases.
• Zimmer: on ostinato textures + build / peak_then_bare, figureStep keeps the written figure; applyArrangement still adds or strips a layer. No new label.

Hook length and Guide realize (fifth pass, 2026-09-19)

Gap-study leftover from docs/fable-context/GENERATED_VS_REFERENCE.md: Glass/Zimmer ret4 ≈ 0, Adagio needs an 8-bar return, Guide rest slots were inaudible, and Guide rewrote A′.

Changed

• Closed global hookBars: 2 | 4 | 8. On GLOBAL_FIELDS after phrasing, so both planners and the Jev globals request pick it up with no new op. Coder: allowlist hookBars. Hand-edited plans default from form + character (loops 4, vamps 2, lyrical 4). Beethoven lyrical priors pick 8; Glass/Zimmer loops pick 4.
• themeSources / formSlots take that length: a loop cell can return whole (4); a 16-bar singing form with hook 8 is the 8-bar theme twice.
• Guide realize (no new op): rest slots vacate a felt beat; theme-return bars ornament the source melody instead of writing a new figure+goal.
• Breathing / long-breathed phrase ends stay empty (no pickup). upbeat still fills the rest.

Left out, on purpose

• More meters. 2/4, 9/8 and 12/8 are in (Beethoven marches/allegros, Debussy compound triple, Bach gigues). 3/8 and cut time are still out.
• Two chords in a bar beyond cadences. Cadence bars can now split (see above); the invention's 41 % two-chord bars are sequence-driven, and a travelling unit at two chords a bar is still to do.
• Tuplets. Moonlight's triplets and Glass's 2-against-3 in 4/4 are approximated on the sixteenth grid.