@libraz/libcantus 0.9.3 → 0.9.5

package/dist/index-tR9jTn26.d.ts

@@ -0,0 +1,275 @@
+/**
+ * Pitch spelling: letter-name notes, enharmonic-aware conversion, and spelled
+ * intervals.
+ *
+ * The rest of the library works in pitch classes (0..11), which cannot tell a
+ * G# from an Ab or an augmented fourth from a diminished fifth. This module adds
+ * an explicit spelling layer — a note is a diatonic letter plus a chromatic
+ * alteration — so interval quality (P/M/m/A/d) and enharmonic identity are
+ * preserved.
+ */
+/**
+ * A spelled note: a diatonic letter, a chromatic alteration, and an optional
+ * octave.
+ *
+ * - `letter` is 0..6 for C..B.
+ * - `alter` is the number of semitones of alteration: -2 double-flat, -1 flat,
+ *   0 natural, +1 sharp, +2 double-sharp.
+ * - `octave` follows scientific pitch notation (middle C = C4 = MIDI 60). When
+ *   absent, the note denotes a bare pitch class.
+ *
+ * @category Pitch & Intervals
+ */
+type Note = {
+    letter: number;
+    alter: number;
+    octave?: number;
+};
+/**
+ * The quality label of a spelled interval: perfect, major, minor, or one or
+ * more augmentations or diminutions.
+ *
+ * This names how an interval is *spelled*. It is a different notion from
+ * {@link ConsonanceClass}, which classifies how an interval *sounds* against
+ * another voice.
+ *
+ * @see {@link ConsonanceClass}
+ * @category Pitch & Intervals
+ */
+type IntervalQualityLabel = 'P' | 'M' | 'm' | `A${string}` | `d${string}`;
+/**
+ * A spelled interval: a diatonic number, a quality label, and its semitone span.
+ *
+ * @category Pitch & Intervals
+ */
+type SpelledInterval = {
+    /** Diatonic size: 1 = unison, 2 = second, ... 8 = octave, and beyond. */
+    number: number;
+    /** Quality label: 'P', 'M', 'm', or repeated 'A'/'d' for (multiply) aug/dim. */
+    quality: IntervalQualityLabel;
+    /** Signed semitone distance from the first note to the second. */
+    semitones: number;
+    /** True when the diatonic letter movement is descending despite a zero span. */
+    descending?: boolean;
+};
+/**
+ * Reduce a MIDI pitch, a bare pitch class, or any signed offset to a pitch
+ * class in [0, 11].
+ *
+ * This is the library's single definition of pitch-class arithmetic: every
+ * layer routes through it so a fractional pitch reduces the same way
+ * everywhere. A non-integral input is rounded to the nearest semitone first, so
+ * a microtonal 60.6 reads as C# rather than C.
+ *
+ * @param value A MIDI pitch, pitch class, or signed semitone offset.
+ * @returns The pitch class in [0, 11].
+ * @example
+ * ```ts
+ * import { pitchClassOf } from '@libraz/libcantus';
+ * pitchClassOf(61); // 1
+ * pitchClassOf(-1); // 11
+ * pitchClassOf(60.6); // 1
+ * ```
+ * @category Pitch & Intervals
+ */
+declare function pitchClassOf(value: number): number;
+/**
+ * Reduce a letter number or letter offset to a diatonic letter in [0, 6]
+ * (0 = C .. 6 = B).
+ *
+ * @param value A letter number or signed letter offset.
+ * @returns The diatonic letter in [0, 6].
+ * @category Pitch & Intervals
+ */
+declare function diatonicLetterOf(value: number): number;
+/**
+ * The pitch class of a diatonic letter with no accidental (C = 0, D = 2, ...).
+ *
+ * @param letter A letter number or signed letter offset; reduced to [0, 6].
+ * @returns The natural pitch class of that letter.
+ * @category Pitch & Intervals
+ */
+declare function naturalPitchClassOf(letter: number): number;
+/**
+ * Parse scientific pitch notation into a {@link Note}.
+ *
+ * Accepts a letter (case-insensitive) followed by any number of same-direction
+ * accidentals and an optional octave, e.g. `"C"`, `"C#4"`, `"Bb"`, `"F##3"`,
+ * `"Ebb2"`. Both `#` and `x` (double-sharp) are accepted for sharps; `b` for
+ * flats. Mixing sharps and flats (e.g. `"C#b"`) is rejected.
+ *
+ * @param text The note text.
+ * @returns The parsed note.
+ * @throws If the text is not a valid note.
+ * @example
+ * ```ts
+ * import { parseNote, noteToMidi } from '@libraz/libcantus';
+ * const n = parseNote('C#4');
+ * noteToMidi(n); // 61
+ * ```
+ * @category Pitch & Intervals
+ */
+declare function parseNote(text: string): Note;
+/**
+ * Render a {@link Note} as scientific pitch notation.
+ *
+ * @param note The note to format.
+ * @returns The note text, including the octave when present.
+ * @example
+ * ```ts
+ * import { formatNote, parseNote } from '@libraz/libcantus';
+ * formatNote(parseNote('C#4')); // 'C#4'
+ * ```
+ * @category Pitch & Intervals
+ */
+declare function formatNote(note: Note): string;
+/**
+ * Pitch class (0..11) of a note, ignoring octave.
+ *
+ * @param note The note.
+ * @returns The pitch class.
+ * @example
+ * ```ts
+ * import { noteToPitchClass, parseNote } from '@libraz/libcantus';
+ * noteToPitchClass(parseNote('Db')); // 1
+ * ```
+ * @category Pitch & Intervals
+ */
+declare function noteToPitchClass(note: Note): number;
+/**
+ * MIDI number of a note (middle C = C4 = 60).
+ *
+ * @param note The note; must carry an octave.
+ * @returns The MIDI number.
+ * @throws If the note has no octave.
+ * @example
+ * ```ts
+ * import { noteToMidi, parseNote } from '@libraz/libcantus';
+ * noteToMidi(parseNote('A4')); // 69
+ * ```
+ * @category Pitch & Intervals
+ */
+declare function noteToMidi(note: Note): number;
+/**
+ * Name a MIDI number as a {@link Note}, choosing sharp or flat spelling.
+ *
+ * The input is rounded to the nearest integer but is not clamped to the MIDI
+ * range 0..127: out-of-range values extrapolate linearly (e.g. `-1` -> `B-2`,
+ * `128` -> `G#9`) and remain an exact inverse of {@link noteToMidi}.
+ *
+ * @param midi The MIDI number.
+ * @param spelling Whether to prefer sharps or flats for black keys.
+ * @returns The spelled note, with octave.
+ * @example
+ * ```ts
+ * import { midiToNote, formatNote } from '@libraz/libcantus';
+ * formatNote(midiToNote(61)); // 'C#4'
+ * formatNote(midiToNote(61, 'flat')); // 'Db4'
+ * ```
+ * @category Pitch & Intervals
+ */
+declare function midiToNote(midi: number, spelling?: 'sharp' | 'flat'): Note;
+/**
+ * Transpose a note by a signed number of semitones, keeping its spelling.
+ *
+ * The letter moves by the diatonic distance of the conventional interval for
+ * that many semitones and the accidental is recomputed for the new letter, so
+ * enharmonic identity survives: `Ab4` up a major second is `Bb4`, not `A#4`, and
+ * the operation is an exact inverse of itself. An octave-less note stays
+ * octave-less.
+ *
+ * A bare semitone count cannot distinguish an augmented fourth from a diminished
+ * fifth; pass `spelling` to override the letter distance when the enharmonic
+ * choice matters.
+ *
+ * @param note The note to transpose.
+ * @param semitones The signed semitone offset.
+ * @param opts `spelling` forces the result onto the sharp or flat side instead
+ *   of following the source note's letter.
+ * @returns The transposed note.
+ * @example
+ * ```ts
+ * import { transposeNote, formatNote, parseNote } from '@libraz/libcantus';
+ * formatNote(transposeNote(parseNote('Ab4'), 2)); // 'Bb4'
+ * formatNote(transposeNote(parseNote('Ab4'), 2, { spelling: 'sharp' })); // 'A#4'
+ * ```
+ * @category Pitch & Intervals
+ */
+declare function transposeNote(note: Note, semitones: number, opts?: {
+    spelling?: 'sharp' | 'flat';
+}): Note;
+/**
+ * The semitone span of the interval named by a diatonic number and a quality.
+ *
+ * The inverse of the quality derivation in {@link spelledInterval}: it turns a
+ * name back into a distance, which is what transposing by a named interval or
+ * parsing one from text needs.
+ *
+ * @param numberValue Diatonic size: 1 = unison, 2 = second, ... 8 = octave.
+ * @param quality Quality label: `'P'`, `'M'`, `'m'`, or repeated `'A'`/`'d'`.
+ * @returns The unsigned semitone span.
+ * @throws If the quality cannot apply to the number, such as a major fifth.
+ * @example
+ * ```ts
+ * import { intervalSemitones } from '@libraz/libcantus';
+ * intervalSemitones(5, 'P'); // 7
+ * ```
+ * @category Pitch & Intervals
+ */
+declare function intervalSemitones(numberValue: number, quality: IntervalQualityLabel): number;
+/**
+ * Parse an interval name such as `'P5'`, `'m3'`, or `'AA4'`.
+ *
+ * @param name The interval name: a quality label followed by a diatonic number.
+ * @returns The spelled interval. Diminished unisons have a descending
+ *   (negative) semitone span; all other supported names are ascending.
+ * @throws If the name is not a quality label followed by a number, or the two
+ *   cannot describe the same interval.
+ * @example
+ * ```ts
+ * import { parseInterval } from '@libraz/libcantus';
+ * parseInterval('m3'); // { number: 3, quality: 'm', semitones: 3 }
+ * ```
+ * @category Pitch & Intervals
+ */
+declare function parseInterval(name: string): SpelledInterval;
+/**
+ * Transpose a note by a spelled interval, keeping the spelling the interval
+ * names.
+ *
+ * Unlike {@link transposeNote}, which picks a letter from the semitone count,
+ * the diatonic number decides the letter here: transposing C by an augmented
+ * second gives D#, not Eb.
+ *
+ * @param note The note to transpose.
+ * @param interval The interval to apply; a negative span transposes downward.
+ * @returns The transposed note, octave-less if the source was.
+ * @example
+ * ```ts
+ * import { formatNote, parseInterval, parseNote, transposeByInterval } from '@libraz/libcantus';
+ * formatNote(transposeByInterval(parseNote('C4'), parseInterval('A2'))); // 'D#4'
+ * ```
+ * @category Pitch & Intervals
+ */
+declare function transposeByInterval(note: Note, interval: SpelledInterval): Note;
+/**
+ * The spelled interval from one note to another.
+ *
+ * When both notes carry octaves, the interval reflects their full signed
+ * distance (so `C4 -> C5` is a perfect octave). When either lacks an octave the
+ * interval is measured within a single ascending octave from `a` to `b`.
+ *
+ * @param a The lower/first note.
+ * @param b The upper/second note.
+ * @returns The diatonic number, quality, and semitone span.
+ * @example
+ * ```ts
+ * import { spelledInterval, parseNote } from '@libraz/libcantus';
+ * spelledInterval(parseNote('C4'), parseNote('G4'));
+ * // { number: 5, quality: 'P', semitones: 7 }
+ * ```
+ * @category Pitch & Intervals
+ */
+declare function spelledInterval(a: Note, b: Note): SpelledInterval;
+
+export { type IntervalQualityLabel as I, type Note as N, type SpelledInterval as S, noteToMidi as a, noteToPitchClass as b, parseNote as c, diatonicLetterOf as d, pitchClassOf as e, formatNote as f, transposeNote as g, intervalSemitones as i, midiToNote as m, naturalPitchClassOf as n, parseInterval as p, spelledInterval as s, transposeByInterval as t };

package/dist/{index-Bg5dYMmZ.d.ts → index-x2vcsduE.d.cts}

@@ -1,11 +1,11 @@
-import { C as Chord } from './index-Bt4tOUD9.js';
+import { d as ChordToneRole, C as Chord } from './index-oTQbYYIs.cjs';
 
 /**
  * Harmonic role a pitch plays within a chord.
  *
  * @category Functional Harmony
  */
-type HarmonyRole = 'root' | 'third' | 'fifth' | 'sixth' | 'seventh' | 'tension' | 'doubling';
+type HarmonyRole = ChordToneRole | 'tension' | 'doubling';
 /**
  * How firmly a pitch is locked to the chord's identity.
  *
@@ -29,15 +29,18 @@ type VoicedRole = {
 /**
  * Classify a pitch's harmonic role and lock level within a chord.
  *
- * The role comes from the pitch's interval class above the chord root: root (0),
- * third (3/4), fifth (6/7/8), seventh (10/11), and 9/11/13 tensions (2/5/9, and
- * the flat ninth 1). The root locks the chord identity, the third locks its
- * quality, and everything else is free voicing. In a suspended chord (a chord
- * whose intervals include a 4th (5) or 2nd (2) but no third), the suspended tone
- * takes the third's place as the quality-defining tone and is locked to
- * `quality`, since moving it changes the chord. Detecting an octave doubling
- * requires the surrounding voicing, which this single-pitch query does not carry,
- * so `doubling` is part of the type but not returned here.
+ * The role comes from the pitch's interval class above the chord root, read
+ * against the chord's own template: root (0), third (3/4), fifth (6/7/8),
+ * sixth or seventh (9/10/11). Every pitch the template does not claim is
+ * `'tension'` — including one that is simply foreign to the chord, which this
+ * single-pitch query cannot tell from a colour tone. The root locks the chord
+ * identity, the third locks its quality, and everything else is free voicing.
+ * In a suspended chord (a chord whose intervals include a 4th (5) or 2nd (2)
+ * but no third), the suspended tone takes the third's place as the
+ * quality-defining tone and is locked to `quality`, since moving it changes the
+ * chord. Detecting an octave doubling requires the surrounding voicing, which
+ * this query does not carry, so `'doubling'` is part of the type — the shared
+ * vocabulary of harmonic roles — but is never returned here.
  *
  * @param pitch MIDI pitch or bare pitch class.
  * @param chord The chord providing the root reference.