@pepperhorn/chordl-core 0.4.0 → 0.5.1

package/dist/resolver/auto-layout.d.ts

@@ -6,6 +6,17 @@ export interface LayoutOptions {
     startingNote?: string;
     spanFrom?: string;
     spanTo?: string;
+    /**
+     * Whole octaves above the first note, one per note, when the caller knows
+     * where the voicing really sits.
+     *
+     * Without it the notes are read as an ascending stack — each note that fails
+     * to rise wraps into the next octave — which is the only thing bare pitch
+     * classes can support. A library voicing declares its octaves, and a
+     * declared tenth needs a window two octaves wide where the stack rule would
+     * size one for a third and crop the top note off the keyboard.
+     */
+    octaveOffsets?: number[];
 }
 export interface LayoutResult {
     startFrom: WhiteNote;

package/dist/resolver/auto-layout.js

@@ -61,7 +61,8 @@ function ensureFullBlackKeyGroups(startIdx, endIdx) {
     return { startIdx, endIdx };
 }
 export function calculateLayout(notes, options = {}) {
-    const { padding = 1, startingNote, spanFrom, spanTo } = options;
+    const { padding = 1, startingNote, spanFrom, spanTo, octaveOffsets } = options;
+    const hasOffsets = octaveOffsets != null && octaveOffsets.length === notes.length;
     // Explicit starting note: anchor the keyboard there
     if (startingNote) {
         const anchorKey = nearestWhiteKey(startingNote);
@@ -80,9 +81,19 @@ export function calculateLayout(notes, options = {}) {
             // the previous wraps into the next octave (matches voicing rotation).
             const anchorWhiteIdx = WHITE_NOTE_ORDER.indexOf(anchorKey);
             const indices = [];
-            for (const w of whiteKeys) {
-                let idx = WHITE_NOTE_ORDER.indexOf(w);
-                if (indices.length === 0) {
+            for (let i = 0; i < whiteKeys.length; i++) {
+                let idx = WHITE_NOTE_ORDER.indexOf(whiteKeys[i]);
+                if (hasOffsets) {
+                    // A declared placement: seven white keys to the octave, counted from
+                    // the first note, whose own octave is the frame.
+                    idx += 7 * octaveOffsets[i];
+                    if (i === 0)
+                        while (idx < anchorWhiteIdx)
+                            idx += 7;
+                    else
+                        idx += indices[0] - WHITE_NOTE_ORDER.indexOf(whiteKeys[0]);
+                }
+                else if (indices.length === 0) {
                     // First note: place relative to anchor (must be >= anchor)
                     while (idx < anchorWhiteIdx)
                         idx += 7;
@@ -142,17 +153,22 @@ export function calculateLayout(notes, options = {}) {
     // the previous one (in white-key index) wraps into the next octave.
     const whiteKeys = notes.map(nearestWhiteKey);
     const ascending = [];
-    for (const w of whiteKeys) {
-        let idx = WHITE_NOTE_ORDER.indexOf(w);
-        if (ascending.length > 0) {
+    for (let i = 0; i < whiteKeys.length; i++) {
+        let idx = WHITE_NOTE_ORDER.indexOf(whiteKeys[i]);
+        if (hasOffsets) {
+            // A declared placement, so no wrapping is inferred: the offsets already
+            // say which octave each note is in, seven white keys apart.
+            idx += 7 * octaveOffsets[i];
+        }
+        else if (ascending.length > 0) {
             const lastIdx = ascending[ascending.length - 1];
             while (idx <= lastIdx)
                 idx += 7;
         }
         ascending.push(idx);
     }
-    const minAsc = ascending[0];
-    const maxAsc = ascending[ascending.length - 1];
+    const minAsc = Math.min(...ascending);
+    const maxAsc = Math.max(...ascending);
     let startIdx = minAsc - padding;
     let endIdx = maxAsc + padding;
     // Black-key context padding: if an edge white key has a sharp, extend by 1

package/dist/resolver/auto-layout.js.map

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package/dist/theory/chord-identify.d.ts

@@ -0,0 +1,82 @@
+/**
+ * Notes → chord-name recognition, and validation of a typed chord name
+ * against a set of notes.
+ *
+ * The opposite direction to `resolveChord`: everything here compares
+ * pitch-class sets, so it is enharmonic-agnostic (A–Db–E is an A major triad)
+ * and ignores octaves and doubled notes. Chord shapes come from tonal's
+ * `ChordType` dictionary, the same one `resolveChord` reads, so a name this
+ * module accepts is a name the rest of chordl can draw.
+ */
+export interface IdentifyOptions {
+    /**
+     * Allowed chord-type symbols, tonal style ("M", "m", "dim", "maj7", "m7b5",
+     * "add9", ...). Synonyms are accepted ("major", "Δ", "°7"). `undefined`
+     * allows every type tonal knows.
+     */
+    chordTypes?: string[];
+    /** Accept slash names — inversions ("C/E") and pedal basses ("C/Ab"). Default true. */
+    allowSlash?: boolean;
+    /**
+     * Accept pedal-bass (foreign-bass) slash names, whose bass is not a tone of
+     * the chord above it: "C/Ab" for Ab–C–E–G, "A/C" for E–A–C#–C. Default
+     * true. When false, only inversion slash names ("C/E", "C/G" for C–E–G)
+     * are allowed. Has no effect when `allowSlash` is false.
+     */
+    allowPedalBass?: boolean;
+    /** Accept a chord whose perfect 5th is missing (C–D–E → "Cadd9"). Default true. */
+    allowOmittedFifth?: boolean;
+    /**
+     * Name an inversion by its root ("C" for E–G–C). Default true. When false,
+     * the first note passed is taken as the bass: a chord whose root is not the
+     * bass must be written as a slash chord ("C/E").
+     */
+    inversionAgnostic?: boolean;
+}
+export interface ChordCandidate {
+    /** Canonical display symbol, e.g. "Cmaj7", "C/Ab", "Abmaj7#5". */
+    symbol: string;
+    /** Spelled root, e.g. "C#" or "Db". */
+    root: string;
+    /** Canonical tonal chord-type symbol ("M" for a major triad). */
+    type: string;
+    /** Bass note of a slash name, spelled as given. */
+    bass?: string;
+    /** Chord tones left out of the notes, e.g. ["5"]. */
+    omitted?: string[];
+}
+export interface ChordNameMatch {
+    ok: boolean;
+    /** Canonical spelling of the typed name, whenever it parsed. */
+    normalized?: string;
+    /** The parsed name as a candidate, when `ok`. */
+    matched?: ChordCandidate;
+    /** Everything `identifyChords` finds for the notes under the same options. */
+    candidates: ChordCandidate[];
+}
+/**
+ * Every chord name the given notes spell.
+ *
+ * Root-position names come first (the name whose root is the first note given
+ * leads), then omitted-5th readings, then slash names. Within each of those
+ * groups, common chord types come before rare ones (see `TYPE_PRIORITY`). A black-key root is
+ * offered in both spellings ("C#" and "Db") as separate candidates. Slash
+ * names returned here are pedal basses — a non-chord-tone under a chord
+ * ("C/Ab"), unless `allowPedalBass` is false — plus, when `inversionAgnostic`
+ * is false, inversions ("C/E").
+ * Returns `[]` when any note is unparseable or nothing matches.
+ */
+export declare function identifyChords(notes: string[], opts?: IdentifyOptions): ChordCandidate[];
+/**
+ * Check a typed chord name against a set of notes.
+ *
+ * The name is parsed tolerantly (see `normalizeQuality`) and is correct when
+ * its pitch-class set equals the notes' set — or equals it with the perfect
+ * 5th omitted, when `allowOmittedFifth`. A slash bass must be one of the
+ * notes; the chord above it may contain it (an inversion, "C/E") or not (a
+ * pedal, "C/Ab"; rejected when `allowPedalBass` is false). Whether the bass is
+ * a chord tone is judged against the whole chord, so "Cadd9/E" over E–C–D is
+ * an inversion even with its 5th omitted. `normalized` is the canonical spelling of whatever parsed,
+ * right or wrong, so a UI can echo it back.
+ */
+export declare function matchesChordName(input: string, notes: string[], opts?: IdentifyOptions): ChordNameMatch;

package/dist/theory/chord-identify.js

@@ -0,0 +1,340 @@
+import { ChordType, Interval } from "tonal";
+import { PC_SEMITONES, SHARP_TO_FLAT } from "../engine/note-spelling.js";
+import { resolveChord } from "../resolver/chord-resolver.js";
+// ── Pitch-class sets as 12-bit masks ──
+const SHARP_NAMES = ["C", "C#", "D", "D#", "E", "F", "F#", "G", "G#", "A", "A#", "B"];
+const FIFTH = 7;
+/** An omitted-5th reading must still leave a triad's worth of notes. */
+const MIN_NOTES_AFTER_OMISSION = 3;
+/** A slash chord's upper structure must be at least a triad. */
+const MIN_PEDAL_UPPER_NOTES = 3;
+const bit = (pc) => 1 << pc;
+function popcount(mask) {
+    let n = 0;
+    for (let m = mask; m; m &= m - 1)
+        n++;
+    return n;
+}
+function pcsOf(mask) {
+    const out = [];
+    for (let pc = 0; pc < 12; pc++)
+        if (mask & bit(pc))
+            out.push(pc);
+    return out;
+}
+function transpose(relMask, root) {
+    let out = 0;
+    for (const pc of pcsOf(relMask))
+        out |= bit((pc + root) % 12);
+    return out;
+}
+/** Both spellings of a black-key root, one for a white key. */
+function rootSpellings(pc) {
+    const sharp = SHARP_NAMES[pc];
+    const flat = SHARP_TO_FLAT[sharp];
+    return flat ? [sharp, flat] : [sharp];
+}
+// ── Note and chord-type parsing ──
+/** "c#4", " Bb ", "D♭" → "C#", "Bb", "Db". Null when it is not a note name. */
+function spellNote(raw) {
+    const m = raw
+        .trim()
+        .replace(/♯/g, "#")
+        .replace(/♭/g, "b")
+        .match(/^([A-Ga-g])\s*([#b]?)\s*-?\d*$/);
+    if (!m)
+        return null;
+    const name = m[1].toUpperCase() + m[2];
+    return name in PC_SEMITONES ? name : null;
+}
+function parseNotes(notes) {
+    if (notes.length === 0)
+        return null;
+    const spelling = new Map();
+    let mask = 0;
+    let bass = -1;
+    for (const raw of notes) {
+        const name = spellNote(raw);
+        if (!name)
+            return null;
+        const pc = PC_SEMITONES[name];
+        if (bass < 0)
+            bass = pc;
+        if (!spelling.has(pc))
+            spelling.set(pc, name);
+        mask |= bit(pc);
+    }
+    return { mask, bass, spelling };
+}
+/**
+ * Display-type overrides where tonal's first alias is not the symbol people
+ * write: tonal lists "Madd9" before "add9", "m/ma7" before "mMaj7".
+ */
+const CANONICAL_TYPE = {
+    Madd9: "add9",
+    "m/ma7": "mMaj7",
+    mM9: "mMaj9",
+    "maj#4": "maj7#11",
+    "M6#11": "6#11",
+};
+function shapeFromIntervals(type, intervals) {
+    let mask = 0;
+    for (const ivl of intervals) {
+        const semis = Interval.semitones(ivl);
+        if (Number.isInteger(semis))
+            mask |= bit(((semis % 12) + 12) % 12);
+    }
+    return { type, mask };
+}
+const TONAL_SHAPES = ChordType.all().map((t) => shapeFromIntervals(CANONICAL_TYPE[t.aliases[0]] ?? t.aliases[0], t.intervals));
+/**
+ * Rewrite a typed chord quality into a symbol tonal recognises. Tolerates
+ * spaces, parentheses, unicode accidentals and the common written synonyms:
+ * maj/major → M, Δ → maj7 (Δ9 → maj9), min/minor/- → m, ø → m7b5, ° → dim,
+ * + → aug, sus → sus4,
+ * add2 → add9. The single letters M and m keep their case-sensitive meaning.
+ */
+function normalizeQuality(raw) {
+    let s = raw
+        .replace(/[\s()]/g, "")
+        .replace(/♯/g, "#")
+        .replace(/♭/g, "b")
+        // A bare Δ is maj7, as in tonal and jazz usage; Δ before a number is
+        // "maj" (Δ7, Δ9, Δ13).
+        .replace(/Δ(?=\d)/g, "maj")
+        .replace(/Δ/g, "maj7");
+    s = s.replace(/^major/i, "maj").replace(/^minor/i, "min");
+    s = s.replace(/^min/i, "m").replace(/^-/, "m");
+    s = s.replace(/^ø7?/, "m7b5").replace(/^°/, "dim");
+    s = s.replace(/maj|dim|aug|sus|add|alt|omit|dom/gi, (w) => w.toLowerCase());
+    s = s.replace(/^m(?:maj|M)(?=\d|$)/, "mMaj");
+    if (s === "mMaj")
+        s = "mMaj7";
+    if (s === "maj" || s === "")
+        s = "M";
+    if (s === "+")
+        s = "aug";
+    s = s.replace(/sus(?![24])/, "sus4").replace(/add2/, "add9");
+    return s;
+}
+/** Resolve a typed quality to a chord shape, or null when it is not a chord. */
+function shapeForQuality(raw) {
+    const s = normalizeQuality(raw);
+    const t = ChordType.get(s);
+    if (!t.empty) {
+        return shapeFromIntervals(CANONICAL_TYPE[t.aliases[0]] ?? t.aliases[0], t.intervals);
+    }
+    // Names tonal does not know but `resolveChord` builds (m6/9, 7omit3,
+    // compound alterations like maj9#5#13): reuse its fallback rather than
+    // re-deriving those chords here.
+    try {
+        const resolved = resolveChord(`C${s}`);
+        return resolved.intervals?.length ? shapeFromIntervals(s, resolved.intervals) : null;
+    }
+    catch {
+        return null;
+    }
+}
+/**
+ * Common chord types first, so that when one set of notes spells several
+ * names over the same bass the familiar one leads ("Abmaj7#5" before
+ * "AbM7b6"). Types not listed keep tonal's dictionary order after these.
+ */
+const TYPE_PRIORITY = [
+    "M", "m", "7", "maj7", "m7", "dim", "aug", "sus4", "sus2", "m7b5", "dim7",
+    "6", "m6", "add9", "madd9", "7sus4", "9", "maj9", "m9", "maj7#5", "mMaj7",
+];
+const TONAL_ORDER = new Map(TONAL_SHAPES.map((s, i) => [s.type, i]));
+function typePriority(type) {
+    const i = TYPE_PRIORITY.indexOf(type);
+    return i >= 0 ? i : TYPE_PRIORITY.length + (TONAL_ORDER.get(type) ?? TONAL_SHAPES.length);
+}
+const displaySuffix = (type) => (type === "M" ? "" : type);
+function allowedTypes(chordTypes) {
+    if (!chordTypes)
+        return null;
+    const set = new Set();
+    for (const t of chordTypes) {
+        set.add(shapeForQuality(t)?.type ?? normalizeQuality(t));
+    }
+    return set;
+}
+/** Parse a typed chord symbol: root, quality, optional "/bass". */
+function parseSymbol(input) {
+    const m = input
+        .trim()
+        .replace(/♯/g, "#")
+        .replace(/♭/g, "b")
+        .match(/^([A-Ga-g])\s*([#b]?)(.*)$/);
+    if (!m)
+        return null;
+    const root = m[1].toUpperCase() + m[2];
+    let quality = m[3];
+    let bass;
+    const slash = quality.match(/^(.*?)\/\s*([A-Ga-g]\s*[#b]?)\s*$/);
+    if (slash) {
+        quality = slash[1];
+        const spelled = spellNote(slash[2]);
+        if (!spelled)
+            return null;
+        bass = spelled;
+    }
+    const shape = shapeForQuality(quality);
+    if (!shape || !(root in PC_SEMITONES))
+        return null;
+    return {
+        root,
+        rootPc: PC_SEMITONES[root],
+        shape,
+        bass,
+        bassPc: bass === undefined ? undefined : PC_SEMITONES[bass],
+    };
+}
+/**
+ * Does `shape` on `root`, with an optional slash bass, spell exactly `target`?
+ * Tries the whole chord first, then — if allowed — the chord minus its
+ * perfect 5th. A pedal bass (one that is not a chord tone, "C/Ab") requires
+ * the whole chord above it: omitting the 5th there yields names like
+ * "Abmaj7/E" that describe the notes but no musician would write.
+ */
+function spells(shape, root, target, bassPc, allowOmittedFifth) {
+    const chord = transpose(shape.mask, root);
+    const bassBit = bassPc === undefined ? 0 : bit(bassPc);
+    const full = chord | bassBit;
+    if (full === target)
+        return { ok: true };
+    const isPedal = bassBit !== 0 && !(chord & bassBit);
+    const fifthPc = (root + FIFTH) % 12;
+    // The 5th cannot be "omitted" while it is sounding as the bass.
+    if (allowOmittedFifth && !isPedal && shape.mask & bit(FIFTH) && bassPc !== fifthPc) {
+        const without = full & ~bit(fifthPc);
+        if (without === target && popcount(without) >= MIN_NOTES_AFTER_OMISSION) {
+            return { ok: true, omitted: ["5"] };
+        }
+    }
+    return { ok: false };
+}
+function makeCandidate(root, type, bass, omitted) {
+    const c = {
+        symbol: root + displaySuffix(type) + (bass ? `/${bass}` : ""),
+        root,
+        type,
+    };
+    if (bass)
+        c.bass = bass;
+    if (omitted)
+        c.omitted = omitted;
+    return c;
+}
+/**
+ * Every chord name the given notes spell.
+ *
+ * Root-position names come first (the name whose root is the first note given
+ * leads), then omitted-5th readings, then slash names. Within each of those
+ * groups, common chord types come before rare ones (see `TYPE_PRIORITY`). A black-key root is
+ * offered in both spellings ("C#" and "Db") as separate candidates. Slash
+ * names returned here are pedal basses — a non-chord-tone under a chord
+ * ("C/Ab"), unless `allowPedalBass` is false — plus, when `inversionAgnostic`
+ * is false, inversions ("C/E").
+ * Returns `[]` when any note is unparseable or nothing matches.
+ */
+export function identifyChords(notes, opts = {}) {
+    const { allowSlash = true, allowPedalBass = true, allowOmittedFifth = true, inversionAgnostic = true, } = opts;
+    const parsed = parseNotes(notes);
+    if (!parsed)
+        return [];
+    const allowed = allowedTypes(opts.chordTypes);
+    const shapes = allowed ? TONAL_SHAPES.filter((s) => allowed.has(s.type)) : TONAL_SHAPES;
+    const found = [];
+    const push = (rootPc, type, bassPc, omitted) => {
+        const bass = bassPc === undefined ? undefined : parsed.spelling.get(bassPc);
+        const rank = (bass ? 4 : 0) + (omitted ? 2 : 0) + (rootPc === parsed.bass && !bass ? 0 : 1);
+        for (const root of rootSpellings(rootPc)) {
+            found.push({ c: makeCandidate(root, type, bass, omitted), rank, priority: typePriority(type) });
+        }
+    };
+    // Plain names: the notes are exactly the chord (or the chord minus its 5th).
+    for (const root of pcsOf(parsed.mask)) {
+        for (const shape of shapes) {
+            const r = spells(shape, root, parsed.mask, undefined, allowOmittedFifth);
+            if (!r.ok)
+                continue;
+            if (inversionAgnostic || root === parsed.bass)
+                push(root, shape.type, undefined, r.omitted);
+            else if (allowSlash)
+                push(root, shape.type, parsed.bass, r.omitted);
+        }
+    }
+    // Pedal basses: one note under a chord that does not contain it.
+    if (allowSlash && allowPedalBass) {
+        const basses = inversionAgnostic ? pcsOf(parsed.mask) : [parsed.bass];
+        for (const b of basses) {
+            const upper = parsed.mask & ~bit(b);
+            if (popcount(upper) < MIN_PEDAL_UPPER_NOTES)
+                continue;
+            for (const root of pcsOf(upper)) {
+                for (const shape of shapes) {
+                    // A chord that contains the bass is an inversion, named above.
+                    if (transpose(shape.mask, root) & bit(b))
+                        continue;
+                    const r = spells(shape, root, parsed.mask, b, allowOmittedFifth);
+                    if (r.ok)
+                        push(root, shape.type, b, r.omitted);
+                }
+            }
+        }
+    }
+    const seen = new Set();
+    return found
+        .map((f, i) => ({ ...f, i }))
+        .sort((a, b) => a.rank - b.rank || a.priority - b.priority || a.i - b.i)
+        .map((f) => f.c)
+        .filter((c) => (seen.has(c.symbol) ? false : (seen.add(c.symbol), true)));
+}
+/**
+ * Check a typed chord name against a set of notes.
+ *
+ * The name is parsed tolerantly (see `normalizeQuality`) and is correct when
+ * its pitch-class set equals the notes' set — or equals it with the perfect
+ * 5th omitted, when `allowOmittedFifth`. A slash bass must be one of the
+ * notes; the chord above it may contain it (an inversion, "C/E") or not (a
+ * pedal, "C/Ab"; rejected when `allowPedalBass` is false). Whether the bass is
+ * a chord tone is judged against the whole chord, so "Cadd9/E" over E–C–D is
+ * an inversion even with its 5th omitted. `normalized` is the canonical spelling of whatever parsed,
+ * right or wrong, so a UI can echo it back.
+ */
+export function matchesChordName(input, notes, opts = {}) {
+    const { allowSlash = true, allowPedalBass = true, allowOmittedFifth = true, inversionAgnostic = true, } = opts;
+    const candidates = identifyChords(notes, opts);
+    const sym = parseSymbol(input);
+    if (!sym)
+        return { ok: false, candidates };
+    const normalized = makeCandidate(sym.root, sym.shape.type, sym.bass, undefined).symbol;
+    const fail = { ok: false, normalized, candidates };
+    const parsed = parseNotes(notes);
+    if (!parsed || popcount(parsed.mask) < 2)
+        return fail;
+    const allowed = allowedTypes(opts.chordTypes);
+    if (allowed && !allowed.has(sym.shape.type))
+        return fail;
+    const lowest = sym.bassPc ?? sym.rootPc;
+    if (sym.bassPc !== undefined) {
+        if (!allowSlash || !(parsed.mask & bit(sym.bassPc)))
+            return fail;
+        const isChordTone = transpose(sym.shape.mask, sym.rootPc) & bit(sym.bassPc);
+        if (!allowPedalBass && !isChordTone)
+            return fail;
+    }
+    if (!inversionAgnostic && lowest !== parsed.bass)
+        return fail;
+    const r = spells(sym.shape, sym.rootPc, parsed.mask, sym.bassPc, allowOmittedFifth);
+    if (!r.ok)
+        return fail;
+    return {
+        ok: true,
+        normalized,
+        matched: makeCandidate(sym.root, sym.shape.type, sym.bass, r.omitted),
+        candidates,
+    };
+}
+//# sourceMappingURL=chord-identify.js.map

package/dist/theory/chord-identify.js.map

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package/dist/theory/starting-note.d.ts

@@ -0,0 +1,43 @@
+/**
+ * "Starting on X" — the rule that decides which chord tone sits at the bottom.
+ *
+ * This lives in the theory layer rather than in a renderer because more than
+ * one view of a chord has to agree about it. `PianoChord` rotates the voicing
+ * it draws; the board's player rotates the voicing it *sounds*. A second copy
+ * of the rule in the second caller is the one kind of drift nothing on screen
+ * would reveal — the card would draw a first inversion and play root position,
+ * silently, so both call this.
+ *
+ * Degree resolution ("starting on the 3rd") lives here for the same reason: it
+ * is the first half of the same clause, and `bassDegree` ("over the 3rd") uses
+ * the identical lookup.
+ */
+/** Ordinal names for the degrees a "starting on"/"over" clause can name. */
+export declare const DEGREE_NAMES: Record<number, string>;
+/**
+ * Find the chord tone matching a musical degree, regardless of quality.
+ * e.g. degree 3 finds Eb in Cm7 and E in Cmaj7.
+ */
+export declare function degreeToNote(root: string, degree: number, notes: string[]): string | undefined;
+/** Format the available degrees for error messages */
+export declare function describeAvailableDegrees(root: string, notes: string[]): string;
+export interface StartingNoteRotation {
+    /**
+     * Where the named note sits in the original list, or `-1` when the chord
+     * does not contain it. Callers distinguish the two "no rotation" cases from
+     * this: `0` is already the bottom note, `-1` is a note that isn't there.
+     */
+    index: number;
+    /** `notes` rotated so the named note is lowest — the input list when `index <= 0`. */
+    notes: string[];
+}
+/**
+ * Rotate a voicing so `startingNote` is its lowest note.
+ *
+ * Both sides are normalised before matching. `notes` keeps the chord's own
+ * spelling — Bbm is ["Bb", "Db", "F"] — so normalising only the input turned
+ * "Bbm starting on Db" into a search for "C#" and reported Db missing from a
+ * chord whose own error message listed it as the 3rd; matching literally is
+ * the mirror bug, and drops the rotation for "Bbm starting on C#".
+ */
+export declare function rotateToStartingNote(notes: string[], startingNote: string): StartingNoteRotation;