@libraz/libcantus 1.0.1 → 1.2.0

package/dist/analyze/index.d.cts

@@ -1,164 +1,99 @@
-import { h as NoteLike, f as Note, g as NoteEvent } from '../index-B9MNZboQ.cjs';
-export { a as Articulation, b as IntervalQualityLabel, d as KeyScale, S as SpelledInterval } from '../index-B9MNZboQ.cjs';
-export { M as MeterChange, b as MeterLike, c as MeterMap, T as TimeSignature } from '../index-BkGmlyI3.cjs';
-import { K as KeyLike, b as Chord, c as ChordLike } from '../index-C_8o--VE.cjs';
-export { d as ChordQuality, e as ChordSegment, g as ChordSpan, j as ChordToneRole, k as KeyRelation, N as NoteSafety, l as PitchSpelling, S as SafetyProfile, V as VoiceSnapshot } from '../index-C_8o--VE.cjs';
-export { r as ScaleName } from '../masks-DYbE485J.cjs';
-export { A as ArrangementAnalysis, a as ArrangementOptions, b as ArrangementSession, c as ArrangementTrack, C as ChordMatch, d as Conflict, e as ContourDirection, D as DetectChordOptions, f as DetectKeyOptions, E as ExtractMotifsOptions, F as FormSection, g as FormSectionOptions, H as Hypermeter, h as HypermeterOptions, K as KeyMatch, i as KeyVariant, M as MODAL_SCALE_NAMES, j as MelodicComparison, k as MelodicContour, l as MelodicContourShape, m as MelodicPhrase, n as ModalCandidate, o as ModalScaleName, p as MotifData, q as MotifOccurrence, r as MotifRelation, s as MotifRelationKind, P as Phrase, t as PhraseOptions, u as PhraseSignal, R as ReduceProgressionOptions, v as ReducedChord, w as ReductionBasis, x as ReductionLevel, S as StructuralCadence, T as TensionPoint, y as TrackAnalysis, z as TrackEdit, B as TrackRole, G as analyzeArrangement, I as compareMelodies, J as createArrangementSession, L as detectChord, N as detectChordBest, O as detectKey, Q as detectKeyBest, U as detectKeyFromNotes, V as extractMotifs, W as hypermeter, X as melodicContour, Y as melodicSimilarity, Z as motifFromNotes, _ as phrasesFromTimeline, $ as reduceProgression, a0 as relateMotifs, a1 as sectionsFromNotes, a2 as structuralCadences, a3 as tensionCurve, a4 as tensionCurveFrom } from '../index-BO6xE9YU.cjs';
-import { e as ChordTimeline } from '../index-Dzr13q3d.cjs';
-export { A as AnalyzeChordOptions, a as AnalyzedNote, B as BorrowedSource, C as CadenceHit, b as CadenceResult, c as ChordAnalysis, d as ChordSegmentation, f as ChordTimelineOptions, g as ChordTimelineResult, h as ChordToRomanOptions, D as DetectCadenceOptions, E as ExplainRomanOptions, H as HarmonicFunction, I as IdentifiedVoiceNote, K as KeyContext, i as KeyProfileName, j as KeyProfilePair, k as KeyRegion, l as KeyTimelineOptions, P as PivotChord, R as RejectedCandidate, m as RomanExplanation, S as SuspensionFigure, T as TheoryLabel, V as VoiceNote, n as analyzeChord, o as analyzeVoice, p as borrowedSource, q as chordTimelineFromChords, r as chordTimelineFromNotes, s as chordToRoman, t as detectCadence, u as detectCadences, v as detectModulations, w as explainRoman, x as functionOf, y as isBorrowedChord, z as isDiatonic, F as isMinorKey, G as keyTimelineFromNotes, J as pivotChords, L as prevailingKeyOf, M as romanToChord, N as secondaryDominant, O as secondaryDominantOf, Q as toVoiceNotes } from '../index-Dzr13q3d.cjs';
+import { i as NoteLike, h as NoteEvent, g as Note } from '../index-Cy15oTvh.cjs';
+export { a as Articulation, I as IntervalData, c as IntervalQualityLabel, e as KeyScale, S as SpelledInterval } from '../index-Cy15oTvh.cjs';
+export { M as MeterChange, b as MeterLike, c as MeterMap, T as TimeSignature } from '../index-BMweUlm5.cjs';
+import { r as SpelledKeyLike } from '../coerce-DRERzdve.cjs';
+export { b as ChordData, c as ChordLike, d as ChordQuality, e as ChordSegment, g as ChordSpan, i as ChordToneRole, K as KeyLike, j as KeyRelation, k as KeyVariant, N as NoteSafety, l as PitchSpelling, n as ResolvedKey, o as SafetyProfile, s as SpelledKeyScale, V as VoiceSnapshot } from '../coerce-DRERzdve.cjs';
+export { r as ScaleName } from '../masks-pADfTOiD.cjs';
+import { e as ChordTimeline } from '../index-BBWNZS0f.cjs';
+export { A as AnalyzeChordOptions, a as AnalyzedNote, B as BorrowedSource, C as CadenceHit, b as CadenceResult, c as ChordAnalysis, d as ChordSegmentation, f as ChordTimelineOptions, g as ChordTimelineResult, h as ChordToRomanOptions, D as DetectCadenceOptions, E as ExplainRomanOptions, H as HarmonicFunction, I as IdentifiedVoiceNote, K as KeyContext, i as KeyProfileName, j as KeyProfilePair, k as KeyRegion, l as KeyTimelineOptions, P as PivotChord, R as RejectedCandidate, m as RomanExplanation, S as SuspensionFigure, T as TheoryLabel, V as VoiceNote, n as analyzeChord, o as analyzeVoice, p as assertChordTimeline, q as borrowedSource, r as chordTimelineFromChords, s as chordTimelineFromNotes, t as chordToRoman, u as detectCadence, v as detectCadences, w as detectModulations, x as explainRoman, y as functionOf, z as isBorrowedChord, F as isDiatonic, G as isMinorKey, J as keyTimelineFromNotes, L as pivotChords, M as prevailingKeyOf, N as romanToChord, O as secondaryDominant, Q as secondaryDominantOf, U as toVoiceNotes } from '../index-BBWNZS0f.cjs';
+import { m as MelodicPhrase } from '../index-DGCNKAUr.cjs';
+export { A as ArrangementAnalysis, a as ArrangementOptions, b as ArrangementSession, c as ArrangementTrack, d as AugmentedSixthKind, C as ChordMatch, e as Conflict, f as ConflictPartner, g as ContourDirection, D as DetectChordOptions, h as DetectKeyOptions, E as ExtractMotifsOptions, F as FormSection, i as FormSectionOptions, H as Hypermeter, j as HypermeterOptions, K as KeyMatch, M as MODAL_SCALE_NAMES, k as MelodicContour, l as MelodicContourShape, n as ModalCandidate, o as ModalScaleName, p as MotifData, q as MotifOccurrence, r as MotifRelation, s as MotifRelationKind, P as Phrase, t as PhraseOptions, u as PhraseSignal, R as ReduceProgressionOptions, v as ReducedChord, w as ReductionBasis, x as ReductionLevel, S as StructuralCadence, T as TensionPoint, y as TrackAnalysis, z as TrackEdit, B as TrackRole, G as analyzeArrangement, I as analyzePolyphony, J as augmentedSixthChord, L as augmentedSixthFromPitchClasses, N as augmentedSixthKind, O as createArrangementSession, Q as detectChord, U as detectChordBest, V as detectKey, W as detectKeyBest, X as detectKeyFromNotes, Y as extractMotifs, Z as hypermeter, _ as melodicContour, $ as motifFromNotes, a0 as phrasesFromTimeline, a1 as reduceProgression, a2 as relateMotifs, a3 as sectionsFromNotes, a4 as spellAugmentedSixth, a5 as structuralCadences, a6 as tensionCurve, a7 as tensionCurveFrom } from '../index-DGCNKAUr.cjs';
 
 /**
- * Augmented-sixth chords: the Italian, French, and German sixths.
+ * How alike two phrases are, when they stand in no named relation.
  *
- * All three stand on the lowered submediant (b6) in the bass and carry an
- * augmented sixth above it, and all three are predominants whose two outer
- * voices resolve outward onto the dominant. The family is defined by that bass
- * and that interval rather than by a stack of thirds, so a chord is recognized
- * here from the tones sounding over that bass rather than through the
- * Roman-numeral degree tables.
- *
- * The interval is spelled, so recognition reads letters and not only pitch
- * classes: over an Ab bass the augmented sixth is F# and the minor seventh of
- * the bVI7 it otherwise sounds exactly like is Gb. A caller holding pitch
- * classes alone — an analysis of a MIDI track, which names no accidentals —
- * makes that reading with {@link augmentedSixthFromPitchClasses}, and the chord
- * it hands back carries the spelling that decided it.
+ * A device the repertoire names is an account of how one phrase was made from
+ * another; a similarity score is what is left to say when there is no such
+ * account — that the two are near, and how near. The reading is an edit
+ * distance over the intervals and over the onset gaps, so a phrase answered by
+ * a slightly ornamented version of itself still reads as close.
  */
 
 /**
- * The three augmented-sixth chords, under the nationalities convention gives
- * them.
- *
- * Over an Ab bass in C: the Italian sixth is Ab C F#, the French sixth adds the
- * supertonic (Ab C D F#), and the German sixth adds the lowered mediant
- * (Ab C Eb F#).
- *
- * @category Functional Harmony
- */
-type AugmentedSixthKind = 'italian' | 'french' | 'german';
-/**
- * Build an augmented-sixth chord in a key.
- *
- * The chord always carries an explicit `bassPc` on the lowered submediant,
- * which is what makes it an augmented sixth rather than the dominant seventh or
- * the altered supertonic seventh it shares pitch classes with, and an explicit
- * interval template naming exactly the tones that sound.
- *
- * It also carries its spelling: the tones as `toneSpellings`, and the root and
- * bass as the usual hints. Those are what let the ordinary chord speller and
- * the symbol formatter name the chord — `Ab C Eb F#` and `Ab7` for the German
- * sixth of C major — since a stack of thirds over that root would put a Gb
- * where the augmented sixth belongs. The spelling is the one the key is written
- * on, so a flat-side key takes the double flats it genuinely needs.
- *
- * The lowered submediant is taken as eight semitones above the tonic in every
- * mode, since the chord is a chromatic alteration rather than a degree of the
- * prevailing scale.
- *
- * @param kind Which of the three augmented sixths to build.
- * @param key The prevailing key, as a key name, a key/scale, or a `Key`.
- * @returns The chord, with its bass on the lowered submediant.
- * @throws If `kind` is not one of the three, or the key's root is not finite.
- * @see {@link spellAugmentedSixth} to spell the family from a tonic without
- *   building a chord at all.
- * @example
- * ```ts
- * import { augmentedSixthChord, majorKey } from '@libraz/libcantus';
- * augmentedSixthChord('german', majorKey(0));
- * // Ab C Eb F# in C: { rootPc: 8, quality: 'dom7', intervals: [0, 4, 7, 10], bassPc: 8, ... }
- * ```
- * @category Functional Harmony
- */
-declare function augmentedSixthChord(kind: AugmentedSixthKind, key: KeyLike): Chord;
-/**
- * Identify a chord as one of the augmented sixths, or null when it is none.
+ * How alike two lines are, and how the answer was reached.
  *
- * A chord qualifies when it sounds the lowered submediant of `key` in the bass,
- * its pitch classes are exactly one of the three sets built over that bass, and
- * its own letters spell the augmented sixth above it. All three are needed: the
- * same pitch classes over the same bass are an ordinary bVI7 when the tone ten
- * semitones above the bass is written as a minor seventh, and the letters are
- * the only place that distinction lives.
- *
- * A chord naming no `bassPc` sounds its root lowest, which is how the two
- * conventions for that field — the sounding bass always, or only a bass that
- * differs from the root — are read alike here.
- *
- * The root the chord is measured from is not consulted, so a chord voiced or
- * rebuilt around any of its own tones still identifies as long as it keeps its
- * spelling.
- *
- * @param chord The chord to test, as a chord symbol, chord data, or a `Chord`.
- * @param key The prevailing key, as a key name, a key/scale, or a `Key`.
- * @returns The kind of augmented sixth, or null.
- * @see {@link augmentedSixthFromPitchClasses} to make the reading from pitch
- *   classes that carry no spelling at all.
- * @example
- * ```ts
- * import { augmentedSixthKind, majorKey, romanToChord } from '@libraz/libcantus';
- * augmentedSixthKind(romanToChord('Fr6', majorKey(0)), majorKey(0)); // 'french'
- * ```
- * @category Functional Harmony
+ * @category Arrangement & Analysis
  */
-declare function augmentedSixthKind(chord: ChordLike, key: KeyLike): AugmentedSixthKind | null;
+type MelodicComparison = {
+    /** Overall likeness in [0, 1]; 1 for the same line, transposition included. */
+    similarity: number;
+    /** Likeness of the interval sequences alone, in [0, 1]. */
+    pitchSimilarity: number;
+    /** Likeness of the rhythmic profiles alone, in [0, 1]. */
+    rhythmSimilarity: number;
+    /** Why the lines scored what they did. */
+    rationale: string;
+};
 /**
- * Read a set of sounding pitch classes over a sounding bass as an augmented
- * sixth, or null when they are none.
- *
- * The reading a caller holding no spelling has to make for itself: pitch
- * classes name no accidentals, so nothing downstream can tell the German sixth
- * from the bVI7 it sounds like once the letters are gone. The chord returned is
- * the one {@link augmentedSixthChord} builds, spelling and all, so it keeps
- * identifying as an augmented sixth everywhere it travels.
- *
- * Not every b6-1-b3-#4 over a b6 bass is an augmented sixth, and this cannot
- * know which one is: it answers what the tones would spell, and the caller
- * decides whether that reading is the one the music supports.
- *
- * @param pcs The sounding pitch classes; duplicates and unreduced values are
- *   fine.
- * @param bassPc The pitch class sounding in the bass.
- * @param key The prevailing key, as a key name, a key/scale, or a `Key`.
- * @returns The augmented-sixth chord, or null.
- * @see {@link augmentedSixthKind} to read a chord that already carries its
- *   spelling.
+ * Compare two lines and say why they scored what they did.
+ *
+ * The metric is a normalised edit distance over the interval sequence, weighted
+ * against the same over the rhythmic profile. Intervals rather than pitches,
+ * because the same tune in another key is the same tune; edit distance rather
+ * than a step-by-step correlation, because a variant that adds a passing note or
+ * drops one still has to line up with its model, and only an alignment-based
+ * measure can do that. Substituting one interval for another costs by how far
+ * apart they are rather than a flat step, so an answer that widens a third to a
+ * fourth stays close to its model while one that replaces it with a leap does
+ * not. The rhythm carries the smaller share: a melody is recognised mostly by
+ * its pitch shape, but a figure in a wholly different rhythm is a different
+ * figure.
+ *
+ * Both lines are expected to be monophonic, as {@link analyzeVoice} expects a
+ * voice to be. Notes struck together are read as one event, the highest of them
+ * standing for it, so a chord is reduced to its top voice rather than read as a
+ * line of its own.
+ *
+ * @param a The first line: a motif, or plain note events.
+ * @param b The second line.
+ * @returns The overall likeness, the two terms behind it, and a rationale.
  * @example
  * ```ts
- * import { augmentedSixthFromPitchClasses, majorKey } from '@libraz/libcantus';
- * // Ab C Eb Gb sounding over Ab in C: the German sixth, spelled with its F#.
- * augmentedSixthFromPitchClasses([8, 0, 3, 6], 8, majorKey(0))?.quality; // 'dom7'
+ * import { compareMelodies } from '@libraz/libcantus';
+ * const line = [
+ *   { pitch: 60, startBeat: 0, durationBeat: 1 },
+ *   { pitch: 62, startBeat: 1, durationBeat: 1 },
+ *   { pitch: 64, startBeat: 2, durationBeat: 1 },
+ * ];
+ * compareMelodies(line, line).similarity; // 1
  * ```
- * @category Functional Harmony
+ * @category Arrangement & Analysis
  */
-declare function augmentedSixthFromPitchClasses(pcs: readonly number[], bassPc: number, key: KeyLike): Chord | null;
+declare function compareMelodies(a: MelodicPhrase, b: MelodicPhrase): MelodicComparison;
 /**
- * Spell an augmented-sixth chord from a spelled tonic, lowest note first.
- *
- * This is the spelled counterpart of {@link augmentedSixthChord}, and the table
- * the chord's own spelling is built from: every tone is placed by a named
- * interval above the bass, so the outer interval is an augmented sixth in every
- * key rather than the minor seventh its ten semitones would otherwise imply.
- * Reach for it when a spelled tonic is all there is; spelling the chord itself
- * with {@link spellChord} names the same notes, in the chord's own order.
+ * How alike two lines are, in [0, 1].
  *
- * A tonic carrying an octave yields notes carrying octaves, ascending from the
- * bass; an octave-less tonic yields octave-less notes.
+ * The number {@link compareMelodies} reaches, for callers that only want to rank
+ * phrases: 1 for the same line — a transposition of it included, since the
+ * measure is built on intervals — and lower the further two lines are from being
+ * each other's variant. Symmetric in its arguments, and deterministic.
  *
- * @param kind Which of the three augmented sixths to spell.
- * @param tonic The spelled tonic of the key, as a note name, a MIDI number,
- *   note data, or a `Note`.
- * @returns The spelled tones, bass first and ascending.
- * @throws If `kind` is not one of the three, or `tonic` is not a note.
+ * @param a The first line: a motif, or plain note events.
+ * @param b The second line.
+ * @returns The likeness in [0, 1].
  * @example
  * ```ts
- * import { noteNames, parseNote, spellAugmentedSixth } from '@libraz/libcantus';
- * noteNames(spellAugmentedSixth('german', parseNote('C'))); // ['Ab', 'C', 'Eb', 'F#']
- * noteNames(spellAugmentedSixth('italian', 'E')); // ['C', 'E', 'A#']
+ * import { melodicSimilarity } from '@libraz/libcantus';
+ * const line = [
+ *   { pitch: 60, startBeat: 0, durationBeat: 1 },
+ *   { pitch: 62, startBeat: 1, durationBeat: 1 },
+ *   { pitch: 64, startBeat: 2, durationBeat: 1 },
+ * ];
+ * melodicSimilarity(line, line); // 1
  * ```
- * @category Functional Harmony
+ * @category Arrangement & Analysis
  */
-declare function spellAugmentedSixth(kind: AugmentedSixthKind, tonic: NoteLike): Note[];
+declare function melodicSimilarity(a: MelodicPhrase, b: MelodicPhrase): number;
 
 /**
  * Line spelling: name every note of a melodic line in one pass.
@@ -187,7 +122,7 @@ type SpellLineOptions = {
      * Tonic spelling to anchor the key, for a caller that already knows how the
      * piece is written. It must sound the key's own root pitch class; anything
      * else is rejected rather than spelled. Defaults to the conventional
-     * spelling `spelledKeyOf` gives the key. Accepted as a note name, a MIDI
+     * spelling the key itself is written with. Accepted as a note name, a MIDI
      * number, note data, or a `Note`.
      */
     tonic?: NoteLike;
@@ -253,6 +188,6 @@ type SpellLineOptions = {
  * ```
  * @category Arrangement & Analysis
  */
-declare function spellLine(notes: readonly NoteEvent[], timeline: ChordTimeline | null, key: KeyLike, opts?: SpellLineOptions): Note[];
+declare function spellLine(notes: readonly NoteEvent[], timeline: ChordTimeline | null, key: SpelledKeyLike, opts?: SpellLineOptions): Note[];
 
-export { type AugmentedSixthKind, Chord as ChordData, ChordLike, ChordTimeline, KeyLike, Note as NoteData, NoteEvent, NoteLike, type SpellLineOptions, augmentedSixthChord, augmentedSixthFromPitchClasses, augmentedSixthKind, spellAugmentedSixth, spellLine };
+export { ChordTimeline, type MelodicComparison, MelodicPhrase, Note as NoteData, NoteEvent, NoteLike, type SpellLineOptions, SpelledKeyLike, compareMelodies, melodicSimilarity, spellLine };

package/dist/analyze/index.d.ts

@@ -1,164 +1,99 @@
-import { h as NoteLike, f as Note, g as NoteEvent } from '../index-B9MNZboQ.js';
-export { a as Articulation, b as IntervalQualityLabel, d as KeyScale, S as SpelledInterval } from '../index-B9MNZboQ.js';
-export { M as MeterChange, b as MeterLike, c as MeterMap, T as TimeSignature } from '../index-Cj49F892.js';
-import { K as KeyLike, b as Chord, c as ChordLike } from '../index-szBv3496.js';
-export { d as ChordQuality, e as ChordSegment, g as ChordSpan, j as ChordToneRole, k as KeyRelation, N as NoteSafety, l as PitchSpelling, S as SafetyProfile, V as VoiceSnapshot } from '../index-szBv3496.js';
-export { r as ScaleName } from '../masks-DYbE485J.js';
-export { A as ArrangementAnalysis, a as ArrangementOptions, b as ArrangementSession, c as ArrangementTrack, C as ChordMatch, d as Conflict, e as ContourDirection, D as DetectChordOptions, f as DetectKeyOptions, E as ExtractMotifsOptions, F as FormSection, g as FormSectionOptions, H as Hypermeter, h as HypermeterOptions, K as KeyMatch, i as KeyVariant, M as MODAL_SCALE_NAMES, j as MelodicComparison, k as MelodicContour, l as MelodicContourShape, m as MelodicPhrase, n as ModalCandidate, o as ModalScaleName, p as MotifData, q as MotifOccurrence, r as MotifRelation, s as MotifRelationKind, P as Phrase, t as PhraseOptions, u as PhraseSignal, R as ReduceProgressionOptions, v as ReducedChord, w as ReductionBasis, x as ReductionLevel, S as StructuralCadence, T as TensionPoint, y as TrackAnalysis, z as TrackEdit, B as TrackRole, G as analyzeArrangement, I as compareMelodies, J as createArrangementSession, L as detectChord, N as detectChordBest, O as detectKey, Q as detectKeyBest, U as detectKeyFromNotes, V as extractMotifs, W as hypermeter, X as melodicContour, Y as melodicSimilarity, Z as motifFromNotes, _ as phrasesFromTimeline, $ as reduceProgression, a0 as relateMotifs, a1 as sectionsFromNotes, a2 as structuralCadences, a3 as tensionCurve, a4 as tensionCurveFrom } from '../index-D57QRbVn.js';
-import { e as ChordTimeline } from '../index-Chbst3Jx.js';
-export { A as AnalyzeChordOptions, a as AnalyzedNote, B as BorrowedSource, C as CadenceHit, b as CadenceResult, c as ChordAnalysis, d as ChordSegmentation, f as ChordTimelineOptions, g as ChordTimelineResult, h as ChordToRomanOptions, D as DetectCadenceOptions, E as ExplainRomanOptions, H as HarmonicFunction, I as IdentifiedVoiceNote, K as KeyContext, i as KeyProfileName, j as KeyProfilePair, k as KeyRegion, l as KeyTimelineOptions, P as PivotChord, R as RejectedCandidate, m as RomanExplanation, S as SuspensionFigure, T as TheoryLabel, V as VoiceNote, n as analyzeChord, o as analyzeVoice, p as borrowedSource, q as chordTimelineFromChords, r as chordTimelineFromNotes, s as chordToRoman, t as detectCadence, u as detectCadences, v as detectModulations, w as explainRoman, x as functionOf, y as isBorrowedChord, z as isDiatonic, F as isMinorKey, G as keyTimelineFromNotes, J as pivotChords, L as prevailingKeyOf, M as romanToChord, N as secondaryDominant, O as secondaryDominantOf, Q as toVoiceNotes } from '../index-Chbst3Jx.js';
+import { i as NoteLike, h as NoteEvent, g as Note } from '../index-Cy15oTvh.js';
+export { a as Articulation, I as IntervalData, c as IntervalQualityLabel, e as KeyScale, S as SpelledInterval } from '../index-Cy15oTvh.js';
+export { M as MeterChange, b as MeterLike, c as MeterMap, T as TimeSignature } from '../index-CL4b4gUQ.js';
+import { r as SpelledKeyLike } from '../coerce-DP0vYu-x.js';
+export { b as ChordData, c as ChordLike, d as ChordQuality, e as ChordSegment, g as ChordSpan, i as ChordToneRole, K as KeyLike, j as KeyRelation, k as KeyVariant, N as NoteSafety, l as PitchSpelling, n as ResolvedKey, o as SafetyProfile, s as SpelledKeyScale, V as VoiceSnapshot } from '../coerce-DP0vYu-x.js';
+export { r as ScaleName } from '../masks-Cc7-MzzY.js';
+import { e as ChordTimeline } from '../index-CJBBiAmU.js';
+export { A as AnalyzeChordOptions, a as AnalyzedNote, B as BorrowedSource, C as CadenceHit, b as CadenceResult, c as ChordAnalysis, d as ChordSegmentation, f as ChordTimelineOptions, g as ChordTimelineResult, h as ChordToRomanOptions, D as DetectCadenceOptions, E as ExplainRomanOptions, H as HarmonicFunction, I as IdentifiedVoiceNote, K as KeyContext, i as KeyProfileName, j as KeyProfilePair, k as KeyRegion, l as KeyTimelineOptions, P as PivotChord, R as RejectedCandidate, m as RomanExplanation, S as SuspensionFigure, T as TheoryLabel, V as VoiceNote, n as analyzeChord, o as analyzeVoice, p as assertChordTimeline, q as borrowedSource, r as chordTimelineFromChords, s as chordTimelineFromNotes, t as chordToRoman, u as detectCadence, v as detectCadences, w as detectModulations, x as explainRoman, y as functionOf, z as isBorrowedChord, F as isDiatonic, G as isMinorKey, J as keyTimelineFromNotes, L as pivotChords, M as prevailingKeyOf, N as romanToChord, O as secondaryDominant, Q as secondaryDominantOf, U as toVoiceNotes } from '../index-CJBBiAmU.js';
+import { m as MelodicPhrase } from '../index-BRMbPkHE.js';
+export { A as ArrangementAnalysis, a as ArrangementOptions, b as ArrangementSession, c as ArrangementTrack, d as AugmentedSixthKind, C as ChordMatch, e as Conflict, f as ConflictPartner, g as ContourDirection, D as DetectChordOptions, h as DetectKeyOptions, E as ExtractMotifsOptions, F as FormSection, i as FormSectionOptions, H as Hypermeter, j as HypermeterOptions, K as KeyMatch, M as MODAL_SCALE_NAMES, k as MelodicContour, l as MelodicContourShape, n as ModalCandidate, o as ModalScaleName, p as MotifData, q as MotifOccurrence, r as MotifRelation, s as MotifRelationKind, P as Phrase, t as PhraseOptions, u as PhraseSignal, R as ReduceProgressionOptions, v as ReducedChord, w as ReductionBasis, x as ReductionLevel, S as StructuralCadence, T as TensionPoint, y as TrackAnalysis, z as TrackEdit, B as TrackRole, G as analyzeArrangement, I as analyzePolyphony, J as augmentedSixthChord, L as augmentedSixthFromPitchClasses, N as augmentedSixthKind, O as createArrangementSession, Q as detectChord, U as detectChordBest, V as detectKey, W as detectKeyBest, X as detectKeyFromNotes, Y as extractMotifs, Z as hypermeter, _ as melodicContour, $ as motifFromNotes, a0 as phrasesFromTimeline, a1 as reduceProgression, a2 as relateMotifs, a3 as sectionsFromNotes, a4 as spellAugmentedSixth, a5 as structuralCadences, a6 as tensionCurve, a7 as tensionCurveFrom } from '../index-BRMbPkHE.js';
 
 /**
- * Augmented-sixth chords: the Italian, French, and German sixths.
+ * How alike two phrases are, when they stand in no named relation.
  *
- * All three stand on the lowered submediant (b6) in the bass and carry an
- * augmented sixth above it, and all three are predominants whose two outer
- * voices resolve outward onto the dominant. The family is defined by that bass
- * and that interval rather than by a stack of thirds, so a chord is recognized
- * here from the tones sounding over that bass rather than through the
- * Roman-numeral degree tables.
- *
- * The interval is spelled, so recognition reads letters and not only pitch
- * classes: over an Ab bass the augmented sixth is F# and the minor seventh of
- * the bVI7 it otherwise sounds exactly like is Gb. A caller holding pitch
- * classes alone — an analysis of a MIDI track, which names no accidentals —
- * makes that reading with {@link augmentedSixthFromPitchClasses}, and the chord
- * it hands back carries the spelling that decided it.
+ * A device the repertoire names is an account of how one phrase was made from
+ * another; a similarity score is what is left to say when there is no such
+ * account — that the two are near, and how near. The reading is an edit
+ * distance over the intervals and over the onset gaps, so a phrase answered by
+ * a slightly ornamented version of itself still reads as close.
  */
 
 /**
- * The three augmented-sixth chords, under the nationalities convention gives
- * them.
- *
- * Over an Ab bass in C: the Italian sixth is Ab C F#, the French sixth adds the
- * supertonic (Ab C D F#), and the German sixth adds the lowered mediant
- * (Ab C Eb F#).
- *
- * @category Functional Harmony
- */
-type AugmentedSixthKind = 'italian' | 'french' | 'german';
-/**
- * Build an augmented-sixth chord in a key.
- *
- * The chord always carries an explicit `bassPc` on the lowered submediant,
- * which is what makes it an augmented sixth rather than the dominant seventh or
- * the altered supertonic seventh it shares pitch classes with, and an explicit
- * interval template naming exactly the tones that sound.
- *
- * It also carries its spelling: the tones as `toneSpellings`, and the root and
- * bass as the usual hints. Those are what let the ordinary chord speller and
- * the symbol formatter name the chord — `Ab C Eb F#` and `Ab7` for the German
- * sixth of C major — since a stack of thirds over that root would put a Gb
- * where the augmented sixth belongs. The spelling is the one the key is written
- * on, so a flat-side key takes the double flats it genuinely needs.
- *
- * The lowered submediant is taken as eight semitones above the tonic in every
- * mode, since the chord is a chromatic alteration rather than a degree of the
- * prevailing scale.
- *
- * @param kind Which of the three augmented sixths to build.
- * @param key The prevailing key, as a key name, a key/scale, or a `Key`.
- * @returns The chord, with its bass on the lowered submediant.
- * @throws If `kind` is not one of the three, or the key's root is not finite.
- * @see {@link spellAugmentedSixth} to spell the family from a tonic without
- *   building a chord at all.
- * @example
- * ```ts
- * import { augmentedSixthChord, majorKey } from '@libraz/libcantus';
- * augmentedSixthChord('german', majorKey(0));
- * // Ab C Eb F# in C: { rootPc: 8, quality: 'dom7', intervals: [0, 4, 7, 10], bassPc: 8, ... }
- * ```
- * @category Functional Harmony
- */
-declare function augmentedSixthChord(kind: AugmentedSixthKind, key: KeyLike): Chord;
-/**
- * Identify a chord as one of the augmented sixths, or null when it is none.
+ * How alike two lines are, and how the answer was reached.
  *
- * A chord qualifies when it sounds the lowered submediant of `key` in the bass,
- * its pitch classes are exactly one of the three sets built over that bass, and
- * its own letters spell the augmented sixth above it. All three are needed: the
- * same pitch classes over the same bass are an ordinary bVI7 when the tone ten
- * semitones above the bass is written as a minor seventh, and the letters are
- * the only place that distinction lives.
- *
- * A chord naming no `bassPc` sounds its root lowest, which is how the two
- * conventions for that field — the sounding bass always, or only a bass that
- * differs from the root — are read alike here.
- *
- * The root the chord is measured from is not consulted, so a chord voiced or
- * rebuilt around any of its own tones still identifies as long as it keeps its
- * spelling.
- *
- * @param chord The chord to test, as a chord symbol, chord data, or a `Chord`.
- * @param key The prevailing key, as a key name, a key/scale, or a `Key`.
- * @returns The kind of augmented sixth, or null.
- * @see {@link augmentedSixthFromPitchClasses} to make the reading from pitch
- *   classes that carry no spelling at all.
- * @example
- * ```ts
- * import { augmentedSixthKind, majorKey, romanToChord } from '@libraz/libcantus';
- * augmentedSixthKind(romanToChord('Fr6', majorKey(0)), majorKey(0)); // 'french'
- * ```
- * @category Functional Harmony
+ * @category Arrangement & Analysis
  */
-declare function augmentedSixthKind(chord: ChordLike, key: KeyLike): AugmentedSixthKind | null;
+type MelodicComparison = {
+    /** Overall likeness in [0, 1]; 1 for the same line, transposition included. */
+    similarity: number;
+    /** Likeness of the interval sequences alone, in [0, 1]. */
+    pitchSimilarity: number;
+    /** Likeness of the rhythmic profiles alone, in [0, 1]. */
+    rhythmSimilarity: number;
+    /** Why the lines scored what they did. */
+    rationale: string;
+};
 /**
- * Read a set of sounding pitch classes over a sounding bass as an augmented
- * sixth, or null when they are none.
- *
- * The reading a caller holding no spelling has to make for itself: pitch
- * classes name no accidentals, so nothing downstream can tell the German sixth
- * from the bVI7 it sounds like once the letters are gone. The chord returned is
- * the one {@link augmentedSixthChord} builds, spelling and all, so it keeps
- * identifying as an augmented sixth everywhere it travels.
- *
- * Not every b6-1-b3-#4 over a b6 bass is an augmented sixth, and this cannot
- * know which one is: it answers what the tones would spell, and the caller
- * decides whether that reading is the one the music supports.
- *
- * @param pcs The sounding pitch classes; duplicates and unreduced values are
- *   fine.
- * @param bassPc The pitch class sounding in the bass.
- * @param key The prevailing key, as a key name, a key/scale, or a `Key`.
- * @returns The augmented-sixth chord, or null.
- * @see {@link augmentedSixthKind} to read a chord that already carries its
- *   spelling.
+ * Compare two lines and say why they scored what they did.
+ *
+ * The metric is a normalised edit distance over the interval sequence, weighted
+ * against the same over the rhythmic profile. Intervals rather than pitches,
+ * because the same tune in another key is the same tune; edit distance rather
+ * than a step-by-step correlation, because a variant that adds a passing note or
+ * drops one still has to line up with its model, and only an alignment-based
+ * measure can do that. Substituting one interval for another costs by how far
+ * apart they are rather than a flat step, so an answer that widens a third to a
+ * fourth stays close to its model while one that replaces it with a leap does
+ * not. The rhythm carries the smaller share: a melody is recognised mostly by
+ * its pitch shape, but a figure in a wholly different rhythm is a different
+ * figure.
+ *
+ * Both lines are expected to be monophonic, as {@link analyzeVoice} expects a
+ * voice to be. Notes struck together are read as one event, the highest of them
+ * standing for it, so a chord is reduced to its top voice rather than read as a
+ * line of its own.
+ *
+ * @param a The first line: a motif, or plain note events.
+ * @param b The second line.
+ * @returns The overall likeness, the two terms behind it, and a rationale.
  * @example
  * ```ts
- * import { augmentedSixthFromPitchClasses, majorKey } from '@libraz/libcantus';
- * // Ab C Eb Gb sounding over Ab in C: the German sixth, spelled with its F#.
- * augmentedSixthFromPitchClasses([8, 0, 3, 6], 8, majorKey(0))?.quality; // 'dom7'
+ * import { compareMelodies } from '@libraz/libcantus';
+ * const line = [
+ *   { pitch: 60, startBeat: 0, durationBeat: 1 },
+ *   { pitch: 62, startBeat: 1, durationBeat: 1 },
+ *   { pitch: 64, startBeat: 2, durationBeat: 1 },
+ * ];
+ * compareMelodies(line, line).similarity; // 1
  * ```
- * @category Functional Harmony
+ * @category Arrangement & Analysis
  */
-declare function augmentedSixthFromPitchClasses(pcs: readonly number[], bassPc: number, key: KeyLike): Chord | null;
+declare function compareMelodies(a: MelodicPhrase, b: MelodicPhrase): MelodicComparison;
 /**
- * Spell an augmented-sixth chord from a spelled tonic, lowest note first.
- *
- * This is the spelled counterpart of {@link augmentedSixthChord}, and the table
- * the chord's own spelling is built from: every tone is placed by a named
- * interval above the bass, so the outer interval is an augmented sixth in every
- * key rather than the minor seventh its ten semitones would otherwise imply.
- * Reach for it when a spelled tonic is all there is; spelling the chord itself
- * with {@link spellChord} names the same notes, in the chord's own order.
+ * How alike two lines are, in [0, 1].
  *
- * A tonic carrying an octave yields notes carrying octaves, ascending from the
- * bass; an octave-less tonic yields octave-less notes.
+ * The number {@link compareMelodies} reaches, for callers that only want to rank
+ * phrases: 1 for the same line — a transposition of it included, since the
+ * measure is built on intervals — and lower the further two lines are from being
+ * each other's variant. Symmetric in its arguments, and deterministic.
  *
- * @param kind Which of the three augmented sixths to spell.
- * @param tonic The spelled tonic of the key, as a note name, a MIDI number,
- *   note data, or a `Note`.
- * @returns The spelled tones, bass first and ascending.
- * @throws If `kind` is not one of the three, or `tonic` is not a note.
+ * @param a The first line: a motif, or plain note events.
+ * @param b The second line.
+ * @returns The likeness in [0, 1].
  * @example
  * ```ts
- * import { noteNames, parseNote, spellAugmentedSixth } from '@libraz/libcantus';
- * noteNames(spellAugmentedSixth('german', parseNote('C'))); // ['Ab', 'C', 'Eb', 'F#']
- * noteNames(spellAugmentedSixth('italian', 'E')); // ['C', 'E', 'A#']
+ * import { melodicSimilarity } from '@libraz/libcantus';
+ * const line = [
+ *   { pitch: 60, startBeat: 0, durationBeat: 1 },
+ *   { pitch: 62, startBeat: 1, durationBeat: 1 },
+ *   { pitch: 64, startBeat: 2, durationBeat: 1 },
+ * ];
+ * melodicSimilarity(line, line); // 1
  * ```
- * @category Functional Harmony
+ * @category Arrangement & Analysis
  */
-declare function spellAugmentedSixth(kind: AugmentedSixthKind, tonic: NoteLike): Note[];
+declare function melodicSimilarity(a: MelodicPhrase, b: MelodicPhrase): number;
 
 /**
  * Line spelling: name every note of a melodic line in one pass.
@@ -187,7 +122,7 @@ type SpellLineOptions = {
      * Tonic spelling to anchor the key, for a caller that already knows how the
      * piece is written. It must sound the key's own root pitch class; anything
      * else is rejected rather than spelled. Defaults to the conventional
-     * spelling `spelledKeyOf` gives the key. Accepted as a note name, a MIDI
+     * spelling the key itself is written with. Accepted as a note name, a MIDI
      * number, note data, or a `Note`.
      */
     tonic?: NoteLike;
@@ -253,6 +188,6 @@ type SpellLineOptions = {
  * ```
  * @category Arrangement & Analysis
  */
-declare function spellLine(notes: readonly NoteEvent[], timeline: ChordTimeline | null, key: KeyLike, opts?: SpellLineOptions): Note[];
+declare function spellLine(notes: readonly NoteEvent[], timeline: ChordTimeline | null, key: SpelledKeyLike, opts?: SpellLineOptions): Note[];
 
-export { type AugmentedSixthKind, Chord as ChordData, ChordLike, ChordTimeline, KeyLike, Note as NoteData, NoteEvent, NoteLike, type SpellLineOptions, augmentedSixthChord, augmentedSixthFromPitchClasses, augmentedSixthKind, spellAugmentedSixth, spellLine };
+export { ChordTimeline, type MelodicComparison, MelodicPhrase, Note as NoteData, NoteEvent, NoteLike, type SpellLineOptions, SpelledKeyLike, compareMelodies, melodicSimilarity, spellLine };