@pepperhorn/chordl-core 0.3.4 → 0.5.0

package/dist/theory/constrained-variants.js

@@ -0,0 +1,117 @@
+/**
+ * Voicing variants that fit a given hand.
+ *
+ * This lives in core rather than chordl-voicings because it needs
+ * classifyTones/dropOrder, and voicings is a leaf package that core depends
+ * on — the dependency cannot run the other way.
+ */
+import { generateVariants } from "@pepperhorn/chordl-voicings";
+import { classifyTones, dropOrder } from "./chord-tones.js";
+import { constrainVoicing, pcSemitone } from "./hand-constraints.js";
+/**
+ * Drop order when the chord's intervals are unknown.
+ *
+ * resolveChord returns undefined intervals for special-builder chords, so
+ * roles cannot be classified. But it returns notes in root-position order, so
+ * position stands in for role: 0 = root, 1 = 3rd, 2 = 5th, 3 = 7th, 4+ =
+ * extensions. That is enough to mirror what classifyTones would conclude on
+ * the primary path, rather than diverging from it.
+ *
+ * Triads keep the 5th — on piano a triad needs it to still be a triad, which
+ * is exactly what assignRole concludes for degree 5 in the "triad" family.
+ * Larger chords treat the 5th as omittable and protect the 3rd and 7th, so
+ * the root stays droppable and a shell voicing can form.
+ */
+function fallbackDropOrder(notes) {
+    if (notes.length <= 3) {
+        const keep = notes.slice(1, 3);
+        return { order: notes[0] === undefined ? [] : [notes[0]], keep };
+    }
+    const order = [];
+    for (let i = notes.length - 1; i >= 4; i--)
+        order.push(notes[i]); // extensions, top down
+    if (notes[2] !== undefined)
+        order.push(notes[2]); // 5th — conventionally omittable
+    if (notes[0] !== undefined)
+        order.push(notes[0]); // root — last, forming a shell
+    const keep = [notes[1], notes[3]].filter((n) => n !== undefined);
+    return { order, keep };
+}
+/**
+ * Put a variant's unclassified notes at the head of the drop order.
+ *
+ * `order` and `keep` come from the resolved chord tones, so a library
+ * voicing's added 9th or 13th — the whole point of a rootless voicing — is in
+ * neither list. `constrainVoicing` only ever drops what `dropOrder` names, so
+ * without this the reduction stalls with the voicing still over the cap.
+ * Extensions are colour tones and the safest thing to lose, so they go first,
+ * in the order the voicing lists them.
+ *
+ * Membership is tested by semitone because chordl-voicings spells library
+ * variants with sharps where core's resolver yields flats.
+ */
+function withUnclassifiedFirst(notes, order, keep) {
+    const classified = new Set([...order, ...keep].map(pcSemitone));
+    const extras = [];
+    for (const note of notes) {
+        const semitone = pcSemitone(note);
+        if (classified.has(semitone))
+            continue;
+        classified.add(semitone);
+        extras.push(note);
+    }
+    return extras.length === 0 ? order : [...extras, ...order];
+}
+/**
+ * Generate voicing variants and fit each to a hand.
+ *
+ * Variants that satisfy the constraints are returned first, then those that
+ * could not be satisfied without losing a chord tone. Ordering matters because
+ * an inversion often fits where root position cannot: Cmaj7 spans 11 semitones
+ * in root position but 8 in first inversion.
+ *
+ * @param root - root note, e.g. "C"
+ * @param quality - voicing quality from mapToVoicingQuality, may be undefined
+ * @param resolvedNotes - pitch classes in root position
+ * @param count - how many variants to generate before constraining
+ * @param constraints - the hand's reach and note count
+ */
+export function generateConstrainedVariants(root, quality, resolvedNotes, count, constraints, options = {}) {
+    const variants = generateVariants(root, quality, resolvedNotes, count, {
+        styleHint: options.styleHint,
+        excludeIds: options.excludeIds,
+    });
+    if (variants.length === 0)
+        return [];
+    let order;
+    let keep;
+    if (options.intervals && options.intervals.length > 0) {
+        const analysis = classifyTones(root, options.chordType ?? "", options.intervals, resolvedNotes, "piano");
+        order = dropOrder(analysis);
+        // Identity tones only — the root is droppable as a last resort, which is
+        // exactly how a shell voicing is formed.
+        keep = analysis.identityTones;
+    }
+    else {
+        ({ order, keep } = fallbackDropOrder(resolvedNotes));
+    }
+    const constrained = variants.map((v) => ({
+        id: v.id,
+        label: v.label,
+        source: v.source,
+        voicing: constrainVoicing({
+            notes: v.notes,
+            handHints: v.handHints,
+            dropOrder: withUnclassifiedFirst(v.notes, order, keep),
+            keepAtLeast: keep,
+            constraints,
+            baseOctave: options.baseOctave,
+        }),
+    }));
+    // Stable partition: satisfied first, original order preserved within groups.
+    return [
+        ...constrained.filter((c) => c.voicing.satisfied),
+        ...constrained.filter((c) => !c.voicing.satisfied),
+    ];
+}
+//# sourceMappingURL=constrained-variants.js.map

package/dist/theory/constrained-variants.js.map

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package/dist/theory/degree-labels.d.ts

@@ -29,3 +29,42 @@ export declare function intervalToDegreeLabel(interval: string): string;
  * degreesForIntervals(["1P", "3M", "5A", "7m"]) → ["I", "III", "#V", "bVII"]
  */
 export declare function degreesForIntervals(intervals: string[]): string[];
+/**
+ * Label each rendered note with the degree it plays in the chord, keyed by
+ * pitch rather than by position.
+ *
+ * Position is not usable here: `notes` is rotated by inversions and by
+ * "starting on", and repeated across octaves for arpeggios, while
+ * `resolved.intervals` stays canonical (the resolver deliberately does not
+ * rotate it — the voicing lookup classifies by degree number). Zipping the two
+ * by index therefore called whatever note came first the root.
+ *
+ * Matching is spelling-first, then chroma. Spelling has to win: `C7#5b13`
+ * renders both `G#` (5A) and `Ab` (6m), which share chroma 8, and a chroma-first
+ * lookup would give them the same label. Chroma is the fallback for the cases
+ * spelling cannot cover — a `7d` off C is `Bbb` but renders as `A`, and a
+ * voicing may respell `Bb` as `A#`.
+ *
+ * A note in neither map — an added tone from a style voicing, e.g. the 9th in a
+ * rootless `Cmaj7` — is labelled from its distance to the root instead of
+ * borrowing a chord tone's label, and a 2nd, 4th or 6th is raised an octave so
+ * it reads as the extension it is: `IX`, `XI`, `XIII`. The quality rides along,
+ * so an altered extension still reads `bIX` / `#XI` / `bXIII`. Raising is safe
+ * precisely because this branch only fires for notes absent from the chord's
+ * own interval list: a chord that genuinely owns a 2nd, 4th or 6th (`Csus2`,
+ * `Csus4`, `C6`) matches by spelling or chroma first and keeps `II`, `IV`, `VI`.
+ * Anything that still cannot be named comes back `undefined`, and the keyboard
+ * draws no label for it.
+ *
+ * @param root   The chord root, e.g. "C".
+ * @param intervals The chord's canonical intervals, e.g. ["1P","3M","5P"].
+ * @param notes  The notes as rendered, in render order.
+ * @returns One label per note, index-parallel to `notes`.
+ *
+ * @example
+ * degreeLabelsForNotes("C", ["1P","3M","5P"], ["E","G","C"]) → ["III","V","I"]
+ * degreeLabelsForNotes("C", ["3M","5P","8P"], ["E","G","C"]) → ["III","V","8"]
+ * degreeLabelsForNotes("C", ["1P","3M","5P","7M"], ["E","G","B","D"])
+ *   → ["III","V","VII","IX"]  // the D is an added tone, so it reads as a 9th
+ */
+export declare function degreeLabelsForNotes(root: string, intervals: string[] | undefined, notes: string[]): (string | undefined)[];

package/dist/theory/degree-labels.js

@@ -9,7 +9,8 @@
  * - Minor/Diminished = flat (b)
  * - Augmented = sharp (#)
  */
-import { parseInterval } from "./chord-tones";
+import { Note, Interval } from "tonal";
+import { parseInterval } from "./chord-tones.js";
 const ROMAN = ["", "I", "II", "III", "IV", "V", "VI", "VII"];
 const ROMAN_EXT = {
     9: "IX", 10: "X", 11: "XI", 12: "XII", 13: "XIII",
@@ -71,4 +72,104 @@ export function intervalToDegreeLabel(interval) {
 export function degreesForIntervals(intervals) {
     return intervals.map(intervalToDegreeLabel);
 }
+/**
+ * Raise a simple 2nd, 4th or 6th by an octave so it reads as the extension it
+ * is: 2→9, 4→11, 6→13. The quality is carried over untouched, so `2m` becomes
+ * `9m` and `4A` becomes `11A` — a flattened or raised extension keeps its
+ * accidental. Degrees 1, 3, 5, 7 and 8 are returned unchanged.
+ *
+ * Only for the non-chord-tone fallback in `degreeLabelsForNotes`: pitch-class
+ * distances are always simple, so an added 9th arrives here as a bare `2M`.
+ */
+function raiseExtension(interval) {
+    const parsed = Interval.get(interval);
+    if (parsed.empty || parsed.num == null)
+        return interval;
+    if (parsed.num !== 2 && parsed.num !== 4 && parsed.num !== 6)
+        return interval;
+    return `${parsed.num + 7}${parsed.q}`;
+}
+/**
+ * Label each rendered note with the degree it plays in the chord, keyed by
+ * pitch rather than by position.
+ *
+ * Position is not usable here: `notes` is rotated by inversions and by
+ * "starting on", and repeated across octaves for arpeggios, while
+ * `resolved.intervals` stays canonical (the resolver deliberately does not
+ * rotate it — the voicing lookup classifies by degree number). Zipping the two
+ * by index therefore called whatever note came first the root.
+ *
+ * Matching is spelling-first, then chroma. Spelling has to win: `C7#5b13`
+ * renders both `G#` (5A) and `Ab` (6m), which share chroma 8, and a chroma-first
+ * lookup would give them the same label. Chroma is the fallback for the cases
+ * spelling cannot cover — a `7d` off C is `Bbb` but renders as `A`, and a
+ * voicing may respell `Bb` as `A#`.
+ *
+ * A note in neither map — an added tone from a style voicing, e.g. the 9th in a
+ * rootless `Cmaj7` — is labelled from its distance to the root instead of
+ * borrowing a chord tone's label, and a 2nd, 4th or 6th is raised an octave so
+ * it reads as the extension it is: `IX`, `XI`, `XIII`. The quality rides along,
+ * so an altered extension still reads `bIX` / `#XI` / `bXIII`. Raising is safe
+ * precisely because this branch only fires for notes absent from the chord's
+ * own interval list: a chord that genuinely owns a 2nd, 4th or 6th (`Csus2`,
+ * `Csus4`, `C6`) matches by spelling or chroma first and keeps `II`, `IV`, `VI`.
+ * Anything that still cannot be named comes back `undefined`, and the keyboard
+ * draws no label for it.
+ *
+ * @param root   The chord root, e.g. "C".
+ * @param intervals The chord's canonical intervals, e.g. ["1P","3M","5P"].
+ * @param notes  The notes as rendered, in render order.
+ * @returns One label per note, index-parallel to `notes`.
+ *
+ * @example
+ * degreeLabelsForNotes("C", ["1P","3M","5P"], ["E","G","C"]) → ["III","V","I"]
+ * degreeLabelsForNotes("C", ["3M","5P","8P"], ["E","G","C"]) → ["III","V","8"]
+ * degreeLabelsForNotes("C", ["1P","3M","5P","7M"], ["E","G","B","D"])
+ *   → ["III","V","VII","IX"]  // the D is an added tone, so it reads as a 9th
+ */
+export function degreeLabelsForNotes(root, intervals, notes) {
+    if (!intervals || intervals.length === 0)
+        return notes.map(() => undefined);
+    // First interval to claim a pitch keeps it: a chord that names the same
+    // sounding pitch twice should read as the lower of the two degrees.
+    const bySpelling = new Map();
+    const byChroma = new Map();
+    for (const iv of intervals) {
+        const pc = Note.pitchClass(Note.transpose(root, iv));
+        if (!pc)
+            continue;
+        const label = intervalToDegreeLabel(iv);
+        // A slash chord whose bass sits below the root arrives with a negative
+        // interval — C/F is ["-5P","1P","3M","5P"] — and parseInterval's `^(\d+)`
+        // does not match the leading minus, so the label is the "?" sentinel.
+        // Leaving it out of the maps hands the note to the distance fallback,
+        // which names it from the root and gets bVII for C/Bb. Storing it printed
+        // a literal "?" under the bass key.
+        if (label === "?")
+            continue;
+        if (!bySpelling.has(pc))
+            bySpelling.set(pc, label);
+        const chroma = Note.chroma(pc);
+        if (Number.isFinite(chroma) && !byChroma.has(chroma))
+            byChroma.set(chroma, label);
+    }
+    return notes.map((n) => {
+        const pc = Note.pitchClass(n) || n;
+        const spelled = bySpelling.get(pc);
+        if (spelled !== undefined)
+            return spelled;
+        const chroma = Note.chroma(pc);
+        if (Number.isFinite(chroma)) {
+            const enharmonic = byChroma.get(chroma);
+            if (enharmonic !== undefined)
+                return enharmonic;
+        }
+        // Not a chord tone — name it by its distance from the root anyway.
+        const distance = Interval.distance(root, pc);
+        if (!distance)
+            return undefined;
+        const label = intervalToDegreeLabel(raiseExtension(distance));
+        return label === "?" ? undefined : label;
+    });
+}
 //# sourceMappingURL=degree-labels.js.map

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package/dist/theory/hand-constraints.d.ts

@@ -0,0 +1,104 @@
+import type { Hand } from "@pepperhorn/chordl-voicings";
+export interface HandConstraints {
+    /** Maximum semitones between lowest and highest note in one hand. */
+    maxSpanPerHand: number;
+    /** Maximum notes in one hand. Values below 2 are clamped to 2. */
+    maxNotesPerHand: number;
+}
+export interface PlacedNote {
+    note: string;
+    octave: number;
+    midi: number;
+}
+/**
+ * MIDI number for a pitch class in a given octave, C4 = 60.
+ *
+ * PC_SEMITONES handles both sharps and flats, so no spelling normalization is
+ * needed here.
+ */
+export declare function midiOf(note: string, octave: number): number;
+/**
+ * Stack pitch classes into an ascending voicing.
+ *
+ * @param notes - pitch classes in voicing order
+ * @param baseOctave - octave of the first note
+ * @param maxSpan - optional semitone limit; folds notes down where it can
+ *   (0 = no folding). Folding is preferred over dropping because it keeps
+ *   every chord tone.
+ */
+export declare function placeAscending(notes: string[], baseOctave: number, maxSpan?: number): PlacedNote[];
+/** Semitones between the lowest and highest pitch. Zero for 0 or 1 notes. */
+export declare function spanOf(pitches: number[]): number;
+export interface ConstrainedNote extends PlacedNote {
+    hand: Hand;
+}
+export interface ConstrainVoicingInput {
+    /** Pitch classes in voicing order. */
+    notes: string[];
+    /**
+     * Per-note hand assignment. When absent the whole voicing counts as one
+     * hand — variants from the `inversion` and `algorithmic` sources carry no
+     * hand hints, so both caps apply to the voicing as a whole.
+     */
+    handHints?: Hand[];
+    /**
+     * Safest-to-drop first, from core's `dropOrder(analysis)`. Matched against
+     * `notes` by semitone, so either list may be spelled with sharps or flats.
+     */
+    dropOrder: string[];
+    /**
+     * Notes that must survive — the chord's identity tones. Matched by semitone,
+     * like `dropOrder`.
+     */
+    keepAtLeast: string[];
+    constraints: HandConstraints;
+    /** Octave of the lowest note. Default 3. */
+    baseOctave?: number;
+}
+export interface ConstrainedVoicing {
+    /**
+     * Surviving notes in voicing order, each keeping its input spelling. Never
+     * two notes on the same MIDI number, and never fewer than two notes in a
+     * hand unless the input itself had fewer.
+     */
+    notes: ConstrainedNote[];
+    /**
+     * Pitch classes removed, in the order they were dropped, spelled as the
+     * input spelled them rather than as `dropOrder` did.
+     */
+    dropped: string[];
+    /** Largest per-hand span in the result, semitones. */
+    span: number;
+    /** True when every hand is within both caps. */
+    satisfied: boolean;
+}
+/**
+ * Semitone value for matching pitch classes across spellings.
+ *
+ * `PC_SEMITONES` maps sharps and flats onto the same number, so "Bb" and "A#"
+ * compare equal — necessary because chordl-voicings spells library variants
+ * with sharps while core's resolver yields flats. Unknown spellings map to -1
+ * rather than 0 so they never collide with C.
+ */
+export declare function pcSemitone(note: string): number;
+/**
+ * Fit a voicing inside a hand's reach and note count.
+ *
+ * Strategy, in order:
+ *   1. Fold octaves — keeps every chord tone, so it is always preferred.
+ *   2. Drop notes in `dropOrder`, never below `keepAtLeast`, and never below
+ *      two notes in any one hand.
+ *
+ * `dropOrder` and `keepAtLeast` are matched by semitone rather than by
+ * spelling, so a drop order written in flats still recognises a voicing
+ * spelled in sharps. Each returned note keeps its own original spelling —
+ * only the matching normalizes.
+ *
+ * When the constraints still cannot be met without dropping an identity tone
+ * or taking a hand below a dyad, returns the closest legal voicing with
+ * `satisfied: false` rather than returning nothing or a chord that is no
+ * longer the chord asked for. Callers wanting a voicing that genuinely fits
+ * should try other variants — an inversion often fits where root position
+ * cannot.
+ */
+export declare function constrainVoicing(input: ConstrainVoicingInput): ConstrainedVoicing;

package/dist/theory/hand-constraints.js

@@ -0,0 +1,214 @@
+/**
+ * Keyboard reach constraints.
+ *
+ * Two orthogonal limits, both required:
+ *   - maxSpanPerHand — physical reach, in semitones
+ *   - maxNotesPerHand — coordination, in note count
+ *
+ * Count alone does not express reach: a 3-note cap still admits C-E-C', three
+ * notes spanning a full octave, which a young player cannot stretch. The
+ * converse also holds — a 4-note cluster inside a 5th is an easy reach but
+ * harder to coordinate.
+ *
+ * Deriving a junior cutoff from "no 7ths or octaves": a 7th spans 10-11
+ * semitones and an octave 12, so maxSpanPerHand 9 (a major 6th) is binding.
+ */
+import { PC_SEMITONES, assignAscendingOctaves } from "../engine/note-spelling.js";
+/**
+ * MIDI number for a pitch class in a given octave, C4 = 60.
+ *
+ * PC_SEMITONES handles both sharps and flats, so no spelling normalization is
+ * needed here.
+ */
+export function midiOf(note, octave) {
+    const semi = PC_SEMITONES[note] ?? 0;
+    return semi + (octave + 1) * 12;
+}
+/**
+ * Stack pitch classes into an ascending voicing.
+ *
+ * @param notes - pitch classes in voicing order
+ * @param baseOctave - octave of the first note
+ * @param maxSpan - optional semitone limit; folds notes down where it can
+ *   (0 = no folding). Folding is preferred over dropping because it keeps
+ *   every chord tone.
+ */
+export function placeAscending(notes, baseOctave, maxSpan = 0) {
+    return assignAscendingOctaves(notes, baseOctave, maxSpan).map(({ note, octave }) => ({
+        note,
+        octave,
+        midi: midiOf(note, octave),
+    }));
+}
+/** Semitones between the lowest and highest pitch. Zero for 0 or 1 notes. */
+export function spanOf(pitches) {
+    if (pitches.length < 2)
+        return 0;
+    return Math.max(...pitches) - Math.min(...pitches);
+}
+const DEFAULT_HAND = "LH";
+/**
+ * Fewest notes a hand may be reduced to. A dyad is already a shell voicing —
+ * below that there is no chord left to name, so reduction stops and reports
+ * failure rather than returning a single note as a satisfied chord.
+ */
+const MIN_NOTES_PER_HAND = 2;
+/**
+ * Semitone value for matching pitch classes across spellings.
+ *
+ * `PC_SEMITONES` maps sharps and flats onto the same number, so "Bb" and "A#"
+ * compare equal — necessary because chordl-voicings spells library variants
+ * with sharps while core's resolver yields flats. Unknown spellings map to -1
+ * rather than 0 so they never collide with C.
+ */
+export function pcSemitone(note) {
+    return PC_SEMITONES[note] ?? -1;
+}
+function groupsOf(notes) {
+    const byHand = new Map();
+    for (const n of notes) {
+        const list = byHand.get(n.hand);
+        if (list)
+            list.push(n);
+        else
+            byHand.set(n.hand, [n]);
+    }
+    return [...byHand.values()];
+}
+function withinCaps(groups, c, maxNotes) {
+    return groups.every((g) => g.length <= maxNotes && spanOf(g.map((n) => n.midi)) <= c.maxSpanPerHand);
+}
+/**
+ * Place a subset of the voicing (by index) and settle each hand's octaves.
+ *
+ * Step 1 stacks the whole subset ascending with no folding, so the voicing's
+ * true shape is preserved. Step 2 groups the result by hand and re-folds
+ * only the hands whose span exceeds the cap — folding is per-hand because
+ * two hands an octave apart should not be squeezed together just because
+ * the whole voicing looks wide. Step 3 collapses duplicate MIDI numbers
+ * (same key, one finger) so they cost one slot of the note-count budget.
+ */
+function place(indices, notes, baseOctave, maxSpanPerHand, handOf) {
+    const notesForThisCall = indices.map((i) => notes[i]);
+    // Step 1: Place ascending with NO folding to preserve the voicing's true shape.
+    const unfolded = placeAscending(notesForThisCall, baseOctave, 0).map((p, i) => ({ ...p, originalIndex: indices[i], hand: handOf(indices[i]) }));
+    // Step 2: Group by hand and re-fold each hand independently if needed.
+    const handToNotes = new Map();
+    for (const p of unfolded) {
+        const list = handToNotes.get(p.hand);
+        if (list)
+            list.push(p);
+        else
+            handToNotes.set(p.hand, [p]);
+    }
+    const refolded = [];
+    for (const [hand, notesInHand] of handToNotes) {
+        const span = spanOf(notesInHand.map((n) => n.midi));
+        if (span <= maxSpanPerHand) {
+            // Already fits, use as-is
+            refolded.push(...notesInHand);
+            continue;
+        }
+        // Exceeds span, re-fold this hand's notes
+        const refoldedHand = placeAscending(notesInHand.map((n) => n.note), notesInHand[0].octave, maxSpanPerHand);
+        for (let i = 0; i < refoldedHand.length; i++) {
+            refolded.push({
+                ...refoldedHand[i],
+                originalIndex: notesInHand[i].originalIndex,
+                hand,
+            });
+        }
+    }
+    // Restore original voicing order by sorting by originalIndex.
+    refolded.sort((a, b) => a.originalIndex - b.originalIndex);
+    // Step 3: Two notes on the same MIDI number are one key under one finger.
+    // Collapse them so they cost one slot of the note-count budget, not two.
+    // The first in voicing order wins, so the surviving spelling and hand are
+    // the ones the voicing led with.
+    const seenMidi = new Set();
+    return refolded.filter((p) => {
+        if (seenMidi.has(p.midi))
+            return false;
+        seenMidi.add(p.midi);
+        return true;
+    });
+}
+/**
+ * Fit a voicing inside a hand's reach and note count.
+ *
+ * Strategy, in order:
+ *   1. Fold octaves — keeps every chord tone, so it is always preferred.
+ *   2. Drop notes in `dropOrder`, never below `keepAtLeast`, and never below
+ *      two notes in any one hand.
+ *
+ * `dropOrder` and `keepAtLeast` are matched by semitone rather than by
+ * spelling, so a drop order written in flats still recognises a voicing
+ * spelled in sharps. Each returned note keeps its own original spelling —
+ * only the matching normalizes.
+ *
+ * When the constraints still cannot be met without dropping an identity tone
+ * or taking a hand below a dyad, returns the closest legal voicing with
+ * `satisfied: false` rather than returning nothing or a chord that is no
+ * longer the chord asked for. Callers wanting a voicing that genuinely fits
+ * should try other variants — an inversion often fits where root position
+ * cannot.
+ */
+export function constrainVoicing(input) {
+    const baseOctave = input.baseOctave ?? 3;
+    const maxNotes = Math.max(MIN_NOTES_PER_HAND, input.constraints.maxNotesPerHand);
+    const keepSemitones = new Set(input.keepAtLeast.map(pcSemitone));
+    const handOf = (originalIndex) => input.handHints?.[originalIndex] ?? DEFAULT_HAND;
+    // Track note indices instead of strings to handle duplicates correctly.
+    // Each entry is an index into input.notes.
+    let working = input.notes.map((_, i) => i);
+    const dropped = [];
+    for (;;) {
+        const placed = place(working, input.notes, baseOctave, input.constraints.maxSpanPerHand, handOf);
+        // A collapsed duplicate is gone from the result, so drop it from `working`
+        // too — otherwise the drop loop would keep offering a note the caller can
+        // no longer see. `working` only ever shrinks, so this terminates.
+        if (placed.length < working.length) {
+            working = placed.map((p) => p.originalIndex);
+            continue;
+        }
+        const groups = groupsOf(placed);
+        const result = (satisfied) => ({
+            notes: placed.map((p) => ({ note: p.note, octave: p.octave, midi: p.midi, hand: p.hand })),
+            dropped,
+            span: Math.max(0, ...groups.map((g) => spanOf(g.map((n) => n.midi)))),
+            satisfied,
+        });
+        if (withinCaps(groups, input.constraints, maxNotes))
+            return result(true);
+        const notesPerHand = new Map();
+        for (const n of placed)
+            notesPerHand.set(n.hand, (notesPerHand.get(n.hand) ?? 0) + 1);
+        // Find the next note to drop: earliest in dropOrder, not an identity tone,
+        // and not the note that would take its hand below a dyad. Candidates are
+        // matched by semitone so spelling differences do not hide them.
+        let target = -1;
+        for (const pc of input.dropOrder) {
+            const semitone = pcSemitone(pc);
+            if (keepSemitones.has(semitone))
+                continue;
+            // Remove the LAST occurrence of this pitch class (conventional choice).
+            for (let i = working.length - 1; i >= 0; i--) {
+                if (pcSemitone(input.notes[working[i]]) !== semitone)
+                    continue;
+                if ((notesPerHand.get(handOf(working[i])) ?? 0) <= MIN_NOTES_PER_HAND)
+                    continue;
+                target = i;
+                break;
+            }
+            if (target >= 0)
+                break;
+        }
+        // Nothing left that may be dropped: every remaining note is an identity
+        // tone, or dropping it would leave a hand with fewer than two notes.
+        if (target < 0)
+            return result(false);
+        dropped.push(input.notes[working[target]]);
+        working.splice(target, 1);
+    }
+}
+//# sourceMappingURL=hand-constraints.js.map

package/dist/theory/hand-constraints.js.map

@@ -0,0 +1 @@
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