@libraz/libcantus 0.9.2 → 0.9.4

package/dist/theory/index.d.cts

@@ -1,159 +1,11 @@
-import { C as Chord } from '../index-BOBXBNwP.cjs';
-export { a as ChordQuality, c as chordFromDegree, d as chordPitchClasses, e as chordQualities, f as chordToneRole, g as diatonicSeventh, h as diatonicTriad, m as makeChord } from '../index-BOBXBNwP.cjs';
-import { d as VoicingOptions } from '../styled-BjXtOFNk.cjs';
-export { C as ChordScaleMatch, a as ChordScaleReportEntry, S as SATB_RANGES, b as ScaleChoice, c as StyledVoicingOptions, V as VoiceRange, e as VoicingStyle, f as availableTensions, g as avoidNotes, h as chordScaleReport, i as chordScales, s as scaleMatchesChord, j as scalesForChanges, v as voiceChord, k as voiceChordStyled, l as voiceProgression } from '../styled-BjXtOFNk.cjs';
-import { K as KeyScale } from '../types-MGP29r3t.cjs';
-export { H as HarmonyRole, L as LockLevel, V as VoicedRole, r as roleOf } from '../index-BdeQ1r_p.cjs';
-export { N as NoteSafety, R as ReasonFlag, S as SafetyProfile, a as SafetyQuery, b as SafetyResult, V as VoiceSnapshot, e as enumerateSafePitches, c as evaluateSafety } from '../index-DZ1M21do.cjs';
-import { N as Note } from '../index-CGMZNCx6.cjs';
-
-/**
- * Total voice-leading cost between two voicings: the sum of absolute semitone
- * motion across voices, plus a moderate {@link HIDDEN_PERFECT_PENALTY} when the
- * outer-voice (bass–soprano) pair reaches a hidden/direct perfect fifth or
- * octave by similar motion. The arrays must be the same length; when they
- * differ the voicings are not comparable and the cost is `Infinity`.
- *
- * @param from The previous voicing, one MIDI pitch per voice.
- * @param to The next voicing, one MIDI pitch per voice.
- * @returns The summed absolute motion (plus any hidden-perfect penalty), or
- *   `Infinity` when lengths differ.
- * @category Voicing & Counterpoint
- */
-declare function voiceLeadingCost(from: number[], to: number[]): number;
-/**
- * Voice a single chord to follow smoothly from an arbitrary current voicing.
- *
- * Candidate voicings of `chord` are enumerated within ranges taken from `opts`,
- * or — when neither `voices` nor `ranges` is given — from a one-octave window
- * around each pitch of `current` (so the result matches `current`'s voice
- * count). Each candidate is scored by structural quality, voice-leading motion
- * from `current`, and a large penalty per counterpoint violation; the lowest
- * scoring candidate is returned, ascending.
- *
- * @param current The current voicing to lead from, ascending (index 0 = lowest).
- * @param chord The next chord to voice.
- * @param opts Voicing options; when omitted, ranges follow `current`'s span.
- * @returns The chosen voicing, ascending with one MIDI pitch per voice.
- * @throws If no voicing fits the derived ranges.
- * @category Voicing & Counterpoint
- */
-declare function nextVoicing(current: number[], chord: Chord, opts?: VoicingOptions): number[];
-
-/**
- * Whether an upper voice has crossed below a lower voice.
- *
- * @param upperPitch Pitch of the nominally higher voice.
- * @param lowerPitch Pitch of the nominally lower voice.
- * @returns True when the upper voice sits below the lower voice.
- * @category Voicing & Counterpoint
- */
-declare function createsVoiceCrossing(upperPitch: number, lowerPitch: number): boolean;
-/**
- * Whether two simultaneous pitches form a dissonance.
- *
- * @param a First pitch.
- * @param b Second pitch.
- * @param twoVoice When true, the perfect fourth counts as dissonant.
- * @returns True when the vertical interval is dissonant.
- * @category Voicing & Counterpoint
- */
-declare function createsVerticalDissonance(a: number, b: number, twoVoice: boolean): boolean;
-/**
- * Whether a melodic move is a forbidden leap: a tritone, either seventh (minor
- * or major), or any leap wider than an octave.
- *
- * Operates on the raw absolute distance, so compound leaps are not reduced to
- * their simple class before the octave check.
- *
- * @param prev Starting pitch.
- * @param cur Ending pitch.
- * @returns True when the leap is forbidden in strict counterpoint.
- * @category Voicing & Counterpoint
- */
-declare function isForbiddenMelodicLeap(prev: number, cur: number): boolean;
-/**
- * Whether two voices move into consecutive perfect intervals of the same kind
- * (fifth-to-fifth, octave-to-octave, unison-to-unison).
- *
- * Both true parallels (similar motion) and anti-parallels — the same perfect
- * class reached by contrary motion, e.g. octave to octave with the voices moving
- * in opposite directions — are flagged, as both are forbidden in strict two-voice
- * counterpoint. The rule requires that both voices actually move: oblique motion
- * (either voice stationary) and the no-change case (identical pitches) are excluded.
- *
- * A fifth expanding to a twelfth counts (same perfect class); a fifth moving to
- * an octave does not (different perfect kinds — the direct/hidden case owned by
- * {@link createsHiddenParallelPerfect}).
- *
- * @category Voicing & Counterpoint
- */
-declare function createsParallelPerfect(aPrev: number, aCur: number, bPrev: number, bCur: number): boolean;
-/**
- * Whether two voices move in consecutive parallel octaves (or unisons) by
- * similar motion.
- *
- * This is a strict subset of {@link createsParallelPerfect}: a similar-motion
- * octave-to-octave is the perfect-class-zero case that predicate already flags
- * (and it additionally catches the contrary-motion anti-parallel). Callers that
- * tally parallel violations should therefore use {@link createsParallelPerfect}
- * alone to avoid double counting; this predicate remains for callers wanting a
- * dedicated similar-motion octave test.
- *
- * @category Voicing & Counterpoint
- */
-declare function createsParallelOctave(aPrev: number, aCur: number, bPrev: number, bCur: number): boolean;
-/**
- * Whether two voices move in consecutive parallel unisons — both landing on the
- * same pitch, having shared a pitch on the previous move.
- *
- * @category Voicing & Counterpoint
- */
-declare function createsParallelUnison(aPrev: number, aCur: number, bPrev: number, bCur: number): boolean;
-/**
- * Whether two voices reach a perfect interval by similar motion from an
- * imperfect one (a hidden/direct fifth or octave).
- *
- * The traditional step exception is applied: the approach is allowed when the
- * upper of the two voices moves by step, so only leaps into the perfect
- * interval are flagged.
- *
- * @category Voicing & Counterpoint
- */
-declare function createsHiddenParallelPerfect(aPrev: number, aCur: number, bPrev: number, bCur: number): boolean;
-/**
- * Whether two voices overlap: the upper voice descends below where the lower
- * voice just was, or the lower voice rises above where the upper voice just was.
- * Distinct from a simultaneous voice crossing.
- *
- * @param upperPrev Previous pitch of the upper voice.
- * @param upperCur Current pitch of the upper voice.
- * @param lowerPrev Previous pitch of the lower voice.
- * @param lowerCur Current pitch of the lower voice.
- * @category Voicing & Counterpoint
- */
-declare function createsVoiceOverlap(upperPrev: number, upperCur: number, lowerPrev: number, lowerCur: number): boolean;
-/**
- * Whether two adjacent upper voices are spaced more than a maximum apart
- * (commonly an octave). Bass-to-tenor spacing is conventionally exempt, so this
- * is meant for the upper voice pairs.
- *
- * @param upperPitch Pitch of the higher voice.
- * @param lowerPitch Pitch of the lower voice.
- * @param maxSemitones Maximum allowed spacing in semitones (default an octave).
- * @category Voicing & Counterpoint
- */
-declare function exceedsSpacing(upperPitch: number, lowerPitch: number, maxSemitones?: number): boolean;
-/**
- * Whether a leading tone resolves correctly upward to the tonic.
- *
- * @param prev The leading-tone pitch.
- * @param cur The following pitch.
- * @param key Key context supplying the tonic.
- * @returns True when `prev` is the leading tone and `cur` is the tonic a step above.
- * @category Voicing & Counterpoint
- */
-declare function isLeadingToneResolution(prev: number, cur: number, key: KeyScale): boolean;
+import { N as Note } from '../index-OG65ocOr.cjs';
+import { K as KeyScale } from '../types-BN6_Q9Kl.cjs';
+import { C as Chord } from '../index-y_ak9_Hi.cjs';
+export { a as ChordQuality, b as ChordSegment, c as ChordSpan, d as ChordToneRole, P as PitchSpelling, e as chordFromDegree, f as chordPitchClasses, g as chordQualities, h as chordToneRole, i as diatonicSeventh, j as diatonicTriad, k as intervalAboveRoot, l as isChordMember, m as makeChord, t as transposeChord } from '../index-y_ak9_Hi.cjs';
+import { p as ScaleNameInput, r as VoicingOptions } from '../styled-DJbkJQfj.cjs';
+export { A as ALTERED_MASK, B as BLUES_MASK, C as CHROMATIC_MASK, a as ChordScaleMatch, b as ChordScaleReportEntry, D as DORIAN_MASK, H as HARMONIC_MINOR_MASK, L as LOCRIAN_MASK, c as LOCRIAN_NATURAL2_MASK, d as LYDIAN_DOMINANT_MASK, e as LYDIAN_MASK, M as MAJOR_MASK, f as MAJOR_PENTATONIC_MASK, g as MELODIC_MINOR_MASK, h as MINOR_PENTATONIC_MASK, i as MIXOLYDIAN_B13_MASK, j as MIXOLYDIAN_MASK, N as NAMED_SCALES, k as NATURAL_MINOR_MASK, O as OCTATONIC_HALF_WHOLE_MASK, l as OCTATONIC_WHOLE_HALF_MASK, P as PHRYGIAN_DOMINANT_MASK, m as PHRYGIAN_MASK, S as SATB_RANGES, n as ScaleChoice, o as ScaleName, q as StyledVoicingOptions, V as VoiceRange, s as VoicingStyle, W as WHOLE_TONE_MASK, t as availableTensions, u as avoidNotes, v as chordScaleReport, w as chordScales, x as maskFromOffsets, y as namedScaleMask, z as requireScaleMask, E as scaleMatchesChord, F as scalesForChanges, G as voiceChord, I as voiceChordStyled, J as voiceProgression } from '../styled-DJbkJQfj.cjs';
+export { H as HarmonyRole, L as LockLevel, V as VoicedRole, r as roleOf } from '../index-D6b6na69.cjs';
+export { E as EvaluateSafetyOptions, N as NoteSafety, R as ReasonFlag, S as SafetyProfile, a as SafetyQuery, b as SafetyResult, V as VoiceSnapshot, e as enumerateSafePitches, c as evaluateSafety } from '../index-tJhkmQgE.cjs';
 
 /**
  * Test whether a pitch belongs to the scale.
@@ -258,119 +110,156 @@ declare function minorKey(rootPc: number): KeyScale;
  *
  * @category Scales
  */
-declare function scaleByName(name: string, rootPc: number): KeyScale;
+declare function scaleByName(name: ScaleNameInput, rootPc: number): KeyScale;
 
 /**
- * Build a 12-bit mode mask from a list of semitone offsets above the root.
- *
- * Bit 0 (the root) is always set, enforcing the `KeyScale` invariant that the
- * root is a scale tone even when the offset list omits 0.
+ * Total voice-leading cost between two voicings: the sum of absolute semitone
+ * motion across voices, plus a moderate `HIDDEN_PERFECT_PENALTY` when the
+ * outer-voice (bass–soprano) pair reaches a hidden/direct perfect fifth or
+ * octave by similar motion. The arrays must be the same length; when they
+ * differ the voicings are not comparable and the cost is `Infinity`.
  *
- * @category Scales
+ * @param from The previous voicing, one MIDI pitch per voice.
+ * @param to The next voicing, one MIDI pitch per voice.
+ * @returns The summed absolute motion (plus any hidden-perfect penalty), or
+ *   `Infinity` when lengths differ.
+ * @category Voicing & Counterpoint
  */
-declare function maskFromOffsets(offsets: readonly number[]): number;
+declare function voiceLeadingCost(from: number[], to: number[]): number;
 /**
- * Mode mask for the major (Ionian) scale: offsets {0, 2, 4, 5, 7, 9, 11}.
+ * Voice a single chord to follow smoothly from an arbitrary current voicing.
  *
- * @category Scales
- */
-declare const MAJOR_MASK = 2741;
-/**
- * Mode mask for the natural minor (Aeolian) scale: offsets {0, 2, 3, 5, 7, 8, 10}.
+ * Candidate voicings of `chord` are enumerated within ranges taken from `opts`,
+ * or — when neither `voices` nor `ranges` is given — from a one-octave window
+ * around each pitch of `current` (so the result matches `current`'s voice
+ * count). Each candidate is scored by structural quality, voice-leading motion
+ * from `current`, and a large penalty per counterpoint violation; the lowest
+ * scoring candidate is returned, ascending.
  *
- * @category Scales
+ * @param current The current voicing to lead from, ascending (index 0 = lowest).
+ * @param chord The next chord to voice.
+ * @param opts Voicing options; when omitted, ranges follow `current`'s span.
+ * @returns The chosen voicing, ascending with one MIDI pitch per voice.
+ * @throws If `current` is empty or holds a non-finite pitch while the ranges
+ *   are derived from it, or if no voicing fits the ranges.
+ * @category Voicing & Counterpoint
  */
-declare const NATURAL_MINOR_MASK = 1453;
+declare function nextVoicing(current: number[], chord: Chord, opts?: VoicingOptions): number[];
+
 /**
- * Harmonic minor: natural minor with a raised seventh — offsets {0,2,3,5,7,8,11}.
+ * Whether an upper voice has crossed below a lower voice.
  *
- * @category Scales
+ * @param upperPitch Pitch of the nominally higher voice.
+ * @param lowerPitch Pitch of the nominally lower voice.
+ * @returns True when the upper voice sits below the lower voice.
+ * @category Voicing & Counterpoint
  */
-declare const HARMONIC_MINOR_MASK: number;
+declare function createsVoiceCrossing(upperPitch: number, lowerPitch: number): boolean;
 /**
- * Ascending melodic minor: offsets {0,2,3,5,7,9,11}.
+ * Whether two simultaneous pitches form a dissonance.
  *
- * @category Scales
+ * @param a First pitch.
+ * @param b Second pitch.
+ * @param twoVoice When true, the perfect fourth counts as dissonant.
+ * @returns True when the vertical interval is dissonant.
+ * @category Voicing & Counterpoint
  */
-declare const MELODIC_MINOR_MASK: number;
+declare function createsVerticalDissonance(a: number, b: number, twoVoice: boolean): boolean;
 /**
- * Dorian mode: offsets {0,2,3,5,7,9,10}.
+ * Whether a melodic move is a forbidden leap: a tritone, either seventh (minor
+ * or major), or any leap wider than an octave.
  *
- * @category Scales
- */
-declare const DORIAN_MASK: number;
-/**
- * Phrygian mode: offsets {0,1,3,5,7,8,10}.
+ * Operates on the raw absolute distance, so compound leaps are not reduced to
+ * their simple class before the octave check.
  *
- * @category Scales
+ * @param prev Starting pitch.
+ * @param cur Ending pitch.
+ * @returns True when the leap is forbidden in strict counterpoint.
+ * @category Voicing & Counterpoint
  */
-declare const PHRYGIAN_MASK: number;
+declare function isForbiddenMelodicLeap(prev: number, cur: number): boolean;
 /**
- * Lydian mode: offsets {0,2,4,6,7,9,11}.
+ * Whether two voices move into consecutive perfect intervals of the same kind
+ * (fifth-to-fifth, octave-to-octave, unison-to-unison).
  *
- * @category Scales
- */
-declare const LYDIAN_MASK: number;
-/**
- * Mixolydian mode: offsets {0,2,4,5,7,9,10}.
+ * Both true parallels (similar motion) and anti-parallels — the same perfect
+ * class reached by contrary motion, e.g. octave to octave with the voices moving
+ * in opposite directions — are flagged, as both are forbidden in strict two-voice
+ * counterpoint. The rule requires that both voices actually move: oblique motion
+ * (either voice stationary) and the no-change case (identical pitches) are excluded.
  *
- * @category Scales
- */
-declare const MIXOLYDIAN_MASK: number;
-/**
- * Locrian mode: offsets {0,1,3,5,6,8,10}.
+ * A fifth expanding to a twelfth counts (same perfect class); a fifth moving to
+ * an octave does not (different perfect kinds — the direct/hidden case owned by
+ * {@link createsHiddenParallelPerfect}).
  *
- * @category Scales
+ * @category Voicing & Counterpoint
  */
-declare const LOCRIAN_MASK: number;
+declare function createsParallelPerfect(aPrev: number, aCur: number, bPrev: number, bCur: number): boolean;
 /**
- * Major pentatonic: offsets {0,2,4,7,9}.
+ * Whether two voices move in consecutive parallel octaves (or unisons) by
+ * similar motion.
  *
- * @category Scales
- */
-declare const MAJOR_PENTATONIC_MASK: number;
-/**
- * Minor pentatonic: offsets {0,3,5,7,10}.
+ * This is a strict subset of {@link createsParallelPerfect}: a similar-motion
+ * octave-to-octave is the perfect-class-zero case that predicate already flags
+ * (and it additionally catches the contrary-motion anti-parallel). Callers that
+ * tally parallel violations should therefore use {@link createsParallelPerfect}
+ * alone to avoid double counting; this predicate remains for callers wanting a
+ * dedicated similar-motion octave test.
  *
- * @category Scales
+ * @category Voicing & Counterpoint
  */
-declare const MINOR_PENTATONIC_MASK: number;
+declare function createsParallelOctave(aPrev: number, aCur: number, bPrev: number, bCur: number): boolean;
 /**
- * Hexatonic blues scale: minor pentatonic plus the flat-fifth — {0,3,5,6,7,10}.
+ * Whether two voices move in consecutive parallel unisons — both landing on the
+ * same pitch, having shared a pitch on the previous move.
  *
- * @category Scales
+ * @category Voicing & Counterpoint
  */
-declare const BLUES_MASK: number;
+declare function createsParallelUnison(aPrev: number, aCur: number, bPrev: number, bCur: number): boolean;
 /**
- * Whole-tone scale: offsets {0,2,4,6,8,10}.
+ * Whether two voices reach a perfect interval by similar motion from an
+ * imperfect one (a hidden/direct fifth or octave).
  *
- * @category Scales
- */
-declare const WHOLE_TONE_MASK: number;
-/**
- * Octatonic (half-step first): offsets {0,1,3,4,6,7,9,10}.
+ * The traditional step exception is applied: the approach is allowed when the
+ * upper of the two voices moves by step, so only leaps into the perfect
+ * interval are flagged.
  *
- * @category Scales
+ * @category Voicing & Counterpoint
  */
-declare const OCTATONIC_HALF_WHOLE_MASK: number;
+declare function createsHiddenParallelPerfect(aPrev: number, aCur: number, bPrev: number, bCur: number): boolean;
 /**
- * Octatonic (whole-step first): offsets {0,2,3,5,6,8,9,11}.
+ * Whether two voices overlap: the upper voice descends below where the lower
+ * voice just was, or the lower voice rises above where the upper voice just was.
+ * Distinct from a simultaneous voice crossing.
  *
- * @category Scales
+ * @param upperPrev Previous pitch of the upper voice.
+ * @param upperCur Current pitch of the upper voice.
+ * @param lowerPrev Previous pitch of the lower voice.
+ * @param lowerCur Current pitch of the lower voice.
+ * @category Voicing & Counterpoint
  */
-declare const OCTATONIC_WHOLE_HALF_MASK: number;
+declare function createsVoiceOverlap(upperPrev: number, upperCur: number, lowerPrev: number, lowerCur: number): boolean;
 /**
- * Chromatic scale: all twelve pitch classes.
+ * Whether two adjacent upper voices are spaced more than a maximum apart
+ * (commonly an octave). Bass-to-tenor spacing is conventionally exempt, so this
+ * is meant for the upper voice pairs.
  *
- * @category Scales
+ * @param upperPitch Pitch of the higher voice.
+ * @param lowerPitch Pitch of the lower voice.
+ * @param maxSemitones Maximum allowed spacing in semitones (default an octave).
+ * @category Voicing & Counterpoint
  */
-declare const CHROMATIC_MASK = 4095;
+declare function exceedsSpacing(upperPitch: number, lowerPitch: number, maxSemitones?: number): boolean;
 /**
- * Named scale masks addressable by {@link scaleByName}.
+ * Whether a leading tone resolves correctly upward to the tonic.
  *
- * @category Scales
+ * @param prev The leading-tone pitch.
+ * @param cur The following pitch.
+ * @param key Key context supplying the tonic.
+ * @returns True when `prev` is the leading tone and `cur` is the tonic a step above.
+ * @category Voicing & Counterpoint
  */
-declare const NAMED_SCALES: Record<string, number>;
+declare function isLeadingToneResolution(prev: number, cur: number, key: KeyScale): boolean;
 
 /**
  * Spelling: derive letter-name notes for scales and chords from a spelled tonic.
@@ -384,10 +273,12 @@ declare const NAMED_SCALES: Record<string, number>;
 /**
  * Spell a single pitch class relative to a spelled tonic and key.
  *
- * Diatonic pitch classes take the scale's letter for their degree; the common
- * chromatic tones (b2, b3, #4, b6, b7) and a minor key's raised degrees (#6, #7)
- * take their conventional, key-correct accidental spelling; anything else falls
- * back to a sharp spelling of the nearest natural.
+ * The tonic always spells as itself. In a heptatonic key each scale degree takes
+ * the next letter above the tonic, so the scale spells with one letter per
+ * degree. Every other pitch class — a chromatic tone in a heptatonic key, or any
+ * tone of a scale that is not heptatonic (pentatonic, blues, octatonic) — takes
+ * the conventional interval spelling above the tonic's letter, so a flat-side
+ * key keeps flat-side names.
  *
  * @param pc The pitch class to spell.
  * @param tonic The spelled tonic (its letter anchors the spelling).
@@ -399,8 +290,9 @@ declare function spellPitchClass(pc: number, tonic: Note, key: KeyScale): Note;
 /**
  * Spell every pitch class of a scale, in ascending scale-degree order.
  *
- * Correct for heptatonic scales (each degree gets the next letter). Non-standard
- * scales are spelled tone-by-tone with a sharp preference.
+ * Correct for heptatonic scales (each degree gets the next letter). A scale that
+ * is not heptatonic is spelled tone by tone, on the accidental side the scale
+ * leans towards.
  *
  * @param tonic The spelled tonic.
  * @param key The key/scale.
@@ -424,6 +316,13 @@ declare function spellScale(tonic: Note, key: KeyScale): Note[];
  * @category Pitch & Intervals
  */
 declare function spellPitchClasses(pcs: number[], tonic: Note, key: KeyScale): Note[];
+/**
+ * Spell chord tones from an already chosen root spelling.
+ *
+ * This is exported for the model layer's inversion support; the package
+ * barrels intentionally expose the key-aware {@link spellChord} entry point.
+ */
+declare function spellChordFromRoot(chord: Chord, root: Note): Note[];
 /**
  * Spell a chord's tones, in the chord's own (tertian) order, relative to a key.
  *
@@ -446,6 +345,25 @@ declare function spellPitchClasses(pcs: number[], tonic: Note, key: KeyScale): N
  * @category Pitch & Intervals
  */
 declare function spellChord(chord: Chord, tonic: Note, key: KeyScale): Note[];
+/**
+ * Spell a MIDI pitch relative to a key, keeping its octave.
+ *
+ * The octave-less sibling of this function, {@link spellPitchClass}, is enough
+ * for chord and scale spelling; this one is for naming actual sounding pitches
+ * (a generated line, an imported track) without losing the register.
+ *
+ * @param pitch The MIDI pitch; rounded to the nearest integer.
+ * @param tonic The spelled tonic of the key.
+ * @param key The key/scale.
+ * @returns The spelled note, carrying the octave that reproduces `pitch`.
+ * @example
+ * ```ts
+ * import { spellPitch, formatNote, parseNote, majorKey } from '@libraz/libcantus';
+ * formatNote(spellPitch(70, parseNote('Eb'), majorKey(3))); // 'Bb4'
+ * ```
+ * @category Pitch & Intervals
+ */
+declare function spellPitch(pitch: number, tonic: Note, key: KeyScale): Note;
 /**
  * Convenience: render spelled notes as letter-name strings.
  *
@@ -532,4 +450,4 @@ declare function transposeChordSymbol(text: string, semitones: number, opts?: {
     flats?: boolean;
 }): string;
 
-export { BLUES_MASK, CHROMATIC_MASK, Chord as ChordData, DORIAN_MASK, HARMONIC_MINOR_MASK, LOCRIAN_MASK, LYDIAN_MASK, MAJOR_MASK, MAJOR_PENTATONIC_MASK, MELODIC_MINOR_MASK, MINOR_PENTATONIC_MASK, MIXOLYDIAN_MASK, NAMED_SCALES, NATURAL_MINOR_MASK, OCTATONIC_HALF_WHOLE_MASK, OCTATONIC_WHOLE_HALF_MASK, PHRYGIAN_MASK, VoicingOptions, WHOLE_TONE_MASK, createsHiddenParallelPerfect, createsParallelOctave, createsParallelPerfect, createsParallelUnison, createsVerticalDissonance, createsVoiceCrossing, createsVoiceOverlap, diatonicPitchClasses, exceedsSpacing, formatChordSymbol, isForbiddenMelodicLeap, isLeadingToneResolution, isScaleTone, majorKey, maskFromOffsets, minorKey, nearestScaleTone, nextVoicing, noteNames, parseChordSymbol, pitchToScaleDegree, scaleByName, scaleTonesInDegreeOrder, spellChord, spellPitchClass, spellPitchClasses, spellScale, transposeChordSymbol, voiceLeadingCost };
+export { Chord as ChordData, KeyScale, Note as NoteData, ScaleNameInput, VoicingOptions, createsHiddenParallelPerfect, createsParallelOctave, createsParallelPerfect, createsParallelUnison, createsVerticalDissonance, createsVoiceCrossing, createsVoiceOverlap, diatonicPitchClasses, exceedsSpacing, formatChordSymbol, isForbiddenMelodicLeap, isLeadingToneResolution, isScaleTone, majorKey, minorKey, nearestScaleTone, nextVoicing, noteNames, parseChordSymbol, pitchToScaleDegree, scaleByName, scaleTonesInDegreeOrder, spellChord, spellChordFromRoot, spellPitch, spellPitchClass, spellPitchClasses, spellScale, transposeChordSymbol, voiceLeadingCost };