@ugfoundation/swaralipi-js 0.11.1 → 0.13.0

package/dist/chunk-ZNJTMQIX.js.map

@@ -0,0 +1 @@
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* Pure svara → pitch math for the player. No Tone, no audio — unit-testable\n * in plain Node and shared by the scheduler.\n *\n * The model: a tonic (Sa) pitch-class + a per-note scale degree + octave\n * register + komal/tivra/microtone accidentals → an absolute MIDI number,\n * which the Tone.Sampler pitch-shifts from the nearest santoor sample.\n */\nimport { graceNotes } from '../spec/grace.js';\nimport { hasKomal, hasTivra } from '../spec/svara.js';\nimport type { Note, Octave, SvaraLetter } from '../spec/index.js';\n\n/** Octave register offset in octaves, relative to madhyam (middle). */\nexport const OCTAVE_OFFSET: Record<Octave, number> = {\n  'ati-mandra': -2,\n  mandra: -1,\n  madhyam: 0,\n  taar: 1,\n  'ati-taar': 2,\n};\n\n/**\n * Shuddha (natural) scale degrees in semitones above Sa — the Bilawal/major\n * thaat that Rabindrasangeet swaralipi notates against. `d` = dha, `n` = ni\n * (standard sargam letter convention).\n */\nexport const SHUDDHA: Record<SvaraLetter, number> = {\n  s: 0,\n  r: 2,\n  g: 4,\n  m: 5,\n  p: 7,\n  d: 9,\n  n: 11,\n};\n\n/** Sharp-spelled pitch-class names, index = semitone 0–11. */\nconst SHARP_NAMES = ['C', 'C#', 'D', 'D#', 'E', 'F', 'F#', 'G', 'G#', 'A', 'A#', 'B'] as const;\n\n/** Pitch-class lookup. Accepts sharps (`C#`, `Cs`, `cs`) and flats (`Db`). */\nconst PITCH_CLASS: Record<string, number> = {\n  c: 0,\n  'c#': 1,\n  db: 1,\n  d: 2,\n  'd#': 3,\n  eb: 3,\n  e: 4,\n  'e#': 5,\n  fb: 4,\n  f: 5,\n  'f#': 6,\n  gb: 6,\n  g: 7,\n  'g#': 8,\n  ab: 8,\n  a: 9,\n  'a#': 10,\n  bb: 10,\n  b: 11,\n  'b#': 0,\n  cb: 11,\n};\n\n/**\n * Parse a tonic string to a pitch-class 0–11. Accepts `C`, `C#`, `Db`, and\n * the player/sample lowercase-`s` sharp form (`cs`, `Cs`); case-insensitive.\n * Unknown input falls back to 0 (C).\n */\nexport function parseTonic(tonic: string | undefined): number {\n  if (!tonic) return 0;\n  const key = tonic.trim().toLowerCase().replace(/s/g, '#');\n  return PITCH_CLASS[key] ?? 0;\n}\n\n/**\n * Semitone of a note relative to Sa (degree + accidentals), ignoring octave.\n * Returns null when the note carries no pitch (rest/sustain-hold/bar).\n *\n * Microtones (অল্পকোমল/অতিকোমল) are approximated to the komal pitch — a\n * documented v1 limitation (the sampler can't bend a sub-komal microtone\n * cleanly per note); matches the viewer's placeholder treatment.\n */\nexport function svaraSemitone(note: Note): number | null {\n  if (note.svara === undefined) return null;\n  const [, letter] = note.svara;\n  let semi = SHUDDHA[letter];\n  // Only alter what the notation can actually draw: স/প are অচল and ম has no\n  // কোমল form, so a stray flag on one of those must sound as written (the\n  // viewer falls back to the shuddha glyph — see glyphs.ts).\n  if ((note.komal === true || note.microtone !== undefined) && hasKomal(letter)) semi -= 1;\n  if (note.tivra === true && hasTivra(letter)) semi += 1;\n  return semi;\n}\n\n/**\n * Absolute MIDI for a note, or null when it has no pitch. madhyam Sa lands on\n * the tonic in octave `baseOctave` (C4 = MIDI 60). Out-of-sample registers\n * are produced by the Sampler pitch-shifting from the nearest recorded note.\n */\nexport function svaraToMidi(note: Note, tonicPc: number, baseOctave = 4): number | null {\n  const semi = svaraSemitone(note);\n  if (semi === null || note.svara === undefined) return null;\n  const [octave] = note.svara;\n  return (baseOctave + 1 + OCTAVE_OFFSET[octave]) * 12 + tonicPc + semi;\n}\n\n/** MIDI of a কণ/রেশ grace: one pitch per grace svara, in written order.\n * Goes through `svaraToMidi`, so a komal/tivra grace sounds as written (the\n * legacy tuple form carries no accidentals and is shuddha by construction). */\nexport function graceMidis(\n  grace: Note['kan'],\n  tonicPc: number,\n  baseOctave = 4,\n): number[] {\n  return graceNotes(grace)\n    .map((n) => svaraToMidi(n, tonicPc, baseOctave))\n    .filter((m): m is number => m !== null);\n}\n\n/** MIDI → Tone note name (`C#4`). */\nexport function midiToSampleName(midi: number): string {\n  const pc = ((midi % 12) + 12) % 12;\n  const octave = Math.floor(midi / 12) - 1;\n  return `${SHARP_NAMES[pc]}${octave}`;\n}\n\n/** MIDI → santoor sample filename stem (`cs4`): lowercase, `#` → `s`. */\nexport function sampleFileName(midi: number): string {\n  return midiToSampleName(midi).toLowerCase().replace('#', 's');\n}\n\n/**\n * Logistic S-curve on [0, 1], normalised so f(0) = 0 and f(1) = 1.\n *\n * A মীড় is **not** a linear ramp. The hand (or the voice) accelerates away\n * from the source pitch and decelerates into the target — \"if the pull is too\n * fast, the melody loses its vocal quality; if it is too slow, the note dies\n * before reaching its destination\". That S shape is the established model for\n * portamento pitch contours (Yang & Chew's logistic fit, ISMIR 2016), and its\n * coefficient has a direct musical meaning: `steepness` is how abruptly the\n * pitch leaves one svara for the next.\n */\nexport function sCurve(x: number, steepness = 8): number {\n  const t = Math.min(Math.max(x, 0), 1);\n  const logistic = (u: number) => 1 / (1 + Math.exp(-steepness * (u - 0.5)));\n  const lo = logistic(0);\n  return (logistic(t) - lo) / (logistic(1) - lo);\n}\n","/**\n * The order a swaralipi is **sung** in, as opposed to the order it is written.\n * Swarabitan's legend (স্বরবিতান pp. ১৩৫–১৩৬, gitabitan.io/bn/swaralipi/how-to-read/):\n *\n *  - `{ }` is sung twice; `( )` inside it is left out the second time, and the\n *    `[ ]` notes written above stand in for the notes under them.\n *  - II at a kali's end sends the singer back to the asthayi's opening II, on\n *    to the ‖ stop mark, then into the next kali: D.S. al Fine, with ‖ as the\n *    Fine. I[ ]I / II[ ]II make that return sing the `[ ]` notes.\n *  - IIII written as one stroke group ends the song: no return.\n *\n * The notation is written for this order, so every jump lands where the grid\n * expects it: the \"৹ ৹ ৹\" after a kali-end II is the rest of the cycle the ‖\n * broke off, which is what keeps a looping tabla on sam. Whatever the marks\n * leave unsaid (no ‖, a stray bracket) is sung as written.\n */\nimport { decodeCell } from '../convert/codec.js';\nimport type { Bracket, Note, Swaralipi } from '../spec/schema.js';\n\n/** One note as sung: where it is written (for highlights) and what sounds. */\nexport interface Visit {\n  p: number;\n  r: number;\n  i: number;\n  /** The written note, or a `[ ]` note standing in for it on a repeat. */\n  note: Note;\n}\n\n/**\n * A raw the codec could not decode but which still **holds a matra** in the\n * source grid: it carries svara letters or the আ-কার carrier `a` (e.g. a\n * mistyped `` `-a `` / `frsfa` / `PUda`). Bracket, bar-glyph and beat-label\n * carriers contain none of these, so they stay timeless. Dropping these\n * columns outright ran the melody ahead of the তাল from that point on.\n */\nconst UNDECODED_CELL = /[srgmpqnvtduka]/i;\n\n/** A column that produces no sound and no time advance (bar, bracket-only,\n * carrier, structural raw). Mirrors the viewer's non-pitched, non-rest\n * classes. */\nexport const isSilent = (n: Note): boolean =>\n  n.svara === undefined &&\n  n.rest !== true &&\n  n.sustain !== true &&\n  !(n.raw !== undefined && UNDECODED_CELL.test(n.raw));\n\n/** ‖ written above a note: অবসানের চিহ্ন, where a return to the asthayi stops. */\nconst STOP_MARK = /^\\|+$/;\nconst EPS = 1e-6;\n\ninterface Token extends Visit {\n  timed: boolean;\n}\n\nconst edges = (n: Note, kind: Bracket['kind'], edge: Bracket['edge']): number =>\n  n.brackets?.filter((b) => b.kind === kind && b.edge === edge).length ?? 0;\nconst sounds = (n: Note): boolean => n.svara !== undefined || n.rest === true || n.sustain === true;\nconst matra = (notes: Note[]): number => notes.reduce((sum, n) => sum + (n.durationMatra ?? 1), 0);\n\n/** Every note of `doc` in the order it is sung. */\nexport function playOrder(doc: Swaralipi): Visit[] {\n  const tokens: Token[] = [];\n  doc.parts.forEach((part, p) =>\n    part.rows.forEach((row, r) =>\n      row.notes.forEach((note, i) => tokens.push({ p, r, i, note, timed: note.bar === undefined && !isSilent(note) })),\n    ),\n  );\n  const { asthayi, stop, returns } = form(tokens);\n  const changed = changedNotes(tokens);\n  const out: Visit[] = [];\n\n  /** Sing tokens lo..hi-1: each `{ }` twice, its `( )` only the first time. */\n  const sing = (lo: number, hi: number, useChanged: boolean): void => {\n    const repeats: { open: number; again: boolean }[] = [];\n    // Matra of written notes a longer `[ ]` note already sang over.\n    let owed = 0;\n    for (let k = lo; k < hi; ) {\n      const t = tokens[k]!;\n      if (edges(t.note, 'repeat', 'open') > 0 && repeats.at(-1)?.open !== k) repeats.push({ open: k, again: false });\n      const again = repeats.at(-1)?.again === true;\n      const skipTo = again && edges(t.note, 'skip', 'open') > 0 ? skipEnd(tokens, k, hi) : -1;\n      if (skipTo >= 0) {\n        if (edges(tokens[skipTo]!.note, 'repeat', 'close') > 0) repeats.pop();\n        k = skipTo + 1;\n        owed = 0;\n        continue;\n      }\n      if (owed > EPS && t.timed) owed -= matra([t.note]);\n      else {\n        const sub = useChanged || again ? changed.get(k) : undefined;\n        // A `[ ]` note shorter than the one it replaces would pull the melody off sam.\n        const fits = sub !== undefined && matra(sub) >= matra([t.note]) - EPS;\n        for (const note of fits ? sub : [t.note]) out.push({ p: t.p, r: t.r, i: t.i, note });\n        owed = fits ? matra(sub) - matra([t.note]) : 0;\n      }\n      const loop = edges(t.note, 'repeat', 'close') > 0 ? repeats.at(-1) : undefined;\n      if (loop !== undefined && !loop.again) {\n        loop.again = true;\n        k = loop.open;\n        owed = 0;\n        continue;\n      }\n      if (loop !== undefined) repeats.pop();\n      k++;\n    }\n  };\n\n  let from = 0;\n  for (const ret of returns) {\n    sing(from, ret.resume, false);\n    sing(asthayi, stop + 1, ret.changed);\n    from = ret.resume;\n  }\n  sing(from, tokens.length, false);\n  return out;\n}\n\n/**\n * The song's form: where the asthayi starts (its opening II, else the top),\n * where a return stops (the first ‖ in the asthayi), and the token after each\n * kali-end II or I[ ]I. No ‖ → no returns: the notation then does not say how\n * far back to sing.\n */\nfunction form(tokens: Token[]): { asthayi: number; stop: number; returns: { resume: number; changed: boolean }[] } {\n  // A II opens a kali when its row's singing comes after it, and closes one\n  // when the singing comes before; mid-row, it alternates with the last II.\n  const first = new Map<string, number>();\n  const last = new Map<string, number>();\n  tokens.forEach((t, k) => {\n    if (!t.timed) return;\n    const row = `${t.p}.${t.r}`;\n    if (!first.has(row)) first.set(row, k);\n    last.set(row, k);\n  });\n  const opens: number[] = [];\n  let opening = false;\n  tokens.forEach((t, k) => {\n    if (t.note.bar !== 'double') return;\n    const row = `${t.p}.${t.r}`;\n    const before = (first.get(row) ?? Infinity) < k;\n    const after = (last.get(row) ?? -1) > k;\n    opening = before !== after ? after : !opening;\n    if (opening) opens.push(k);\n  });\n\n  // A kali ends on a closing II, or on I[ ]I / II[ ]II (an empty `[ ]` among\n  // the bars); a run of bars holding IIII ends the song instead.\n  const returns: { resume: number; changed: boolean }[] = [];\n  for (let k = 0; k < tokens.length; k++) {\n    let at = -1;\n    let open = false;\n    let changed = false;\n    let end = false;\n    for (; k < tokens.length && !tokens[k]!.timed; k++) {\n      const n = tokens[k]!.note;\n      if (n.bar === 'quad') end = true;\n      if (n.bar === 'double' && !opens.includes(k)) at = k;\n      if (edges(n, 'alt', 'open') > 0) open = true;\n      if (open && edges(n, 'alt', 'close') > 0) {\n        at = k;\n        changed = true;\n      }\n    }\n    if (at >= 0 && !end) returns.push({ resume: at + 1, changed });\n  }\n\n  const top = opens[0];\n  const asthayi = top !== undefined && top < (returns[0]?.resume ?? Infinity) ? top : 0;\n  // The asthayi ends at its own closing II, or where the next kali opens. A ‖\n  // with nothing sung after it is the song's own end (\"এইখানে একেবারে থামিবে\"),\n  // not where a return stops.\n  const asthayiEnd = Math.min(returns[0]?.resume ?? Infinity, opens.find((k) => k > asthayi) ?? Infinity, tokens.length);\n  const lastSung = tokens.reduce((last, t, k) => (t.timed ? k : last), -1);\n  const stop = tokens.findIndex(\n    (t, k) =>\n      k >= asthayi && k < asthayiEnd && k < lastSung && t.note.above?.some((a) => STOP_MARK.test(a.raw ?? '')) === true,\n  );\n  if (stop < 0) return { asthayi, stop, returns: [] };\n  // A ‖ right at the asthayi's own close was just sung: there the singer\n  // \"stops and takes up another kali\", not the whole asthayi again.\n  const atClose = returns[0]?.resume === asthayiEnd && !tokens.slice(stop + 1, asthayiEnd).some((t) => t.timed);\n  return { asthayi, stop, returns: atClose ? returns.slice(1) : returns };\n}\n\n/**\n * The `[ ]` notes written above each column, by token: what is sung there on\n * a repeat. A span runs from the above-row `[` to its `]`; a column under it\n * with nothing above keeps its own note.\n */\nfunction changedNotes(tokens: Token[]): Map<number, Note[]> {\n  const out = new Map<number, Note[]>();\n  let row = '';\n  let inside = false;\n  tokens.forEach((t, k) => {\n    // ponytail: a span is closed at the row's end — no corpus span crosses a row.\n    if (row !== `${t.p}.${t.r}`) {\n      row = `${t.p}.${t.r}`;\n      inside = false;\n    }\n    const notes: Note[] = [];\n    for (const above of t.note.above ?? []) {\n      // An older converter left a few cells like `[sfa]` undecoded: read them as it now would.\n      const read = above.raw !== undefined && !sounds(above) && above.brackets === undefined;\n      for (const a of read ? decodeCell(above.raw!).notes : [above]) {\n        if (edges(a, 'alt', 'open') > 0) inside = true;\n        if (inside && sounds(a)) notes.push(a);\n        if (edges(a, 'alt', 'close') > 0) inside = false;\n      }\n    }\n    if (notes.length > 0) out.set(k, notes);\n  });\n  return out;\n}\n\n/** The token closing the `( )` that opens at `k`, or -1 if it never closes. */\nfunction skipEnd(tokens: Token[], k: number, hi: number): number {\n  for (let depth = 0, j = k; j < hi; j++) {\n    depth += edges(tokens[j]!.note, 'skip', 'open') - edges(tokens[j]!.note, 'skip', 'close');\n    if (depth <= 0) return j;\n  }\n  return -1;\n}\n","/**\n * Pure spec-doc → playback timeline. No Tone, no audio — the player turns\n * this `Schedule` into Transport events, but it is fully unit-testable on its\n * own and mirrors the viewer's spec-driven (not raw-driven) reading.\n *\n * Timing unit is the মাত্রা (matra / beat). One global beat cursor runs across\n * every part and row: NLTR \"systems\" (rows) are wraps of one continuous line,\n * and parts (asthayi → antara …) play back-to-back, so the music never pauses\n * at a row or part boundary.\n *\n * Each audible column carries the same `data-note` path the viewer emits\n * (`part.row.note`, note = absolute index into `row.notes`; see\n * src/viewer/render.ts), so `SwaralipiPlayer` can drive `highlight()` directly.\n */\nimport type { Note, Swaralipi, Taal } from '../spec/index.js';\nimport { resolveLaySpeeds, rowLay, type Lay, type LaySpeeds } from '../spec/lay.js';\nimport { sameTaal } from '../spec/taals.js';\nimport { graceMidis, parseTonic, svaraToMidi } from './pitch.js';\nimport { isSilent, playOrder } from './repeats.js';\n\nexport interface PlayEvent {\n  /** Onset in matra from the start of the document. */\n  beat: number;\n  /** Ring length in matra (extended by following আ-কার holds). */\n  durationBeats: number;\n  /** Pitch as MIDI, or null for a rest / আ-কার hold column. */\n  midi: number | null;\n  /** MIDI of each কণ grace on this column, in written order (empty = none). */\n  kan: number[];\n  /** MIDI of each রেশ grace on this column, in written order (empty = none). */\n  resh: number[];\n  /** `part.row.note` highlight path. */\n  path: string;\n  kind: 'note' | 'rest' | 'sustain';\n  /**\n   * মীড়: this pitch is reached by **gliding** from the previous pitched event,\n   * not by a new attack. The two (or more) notes are one continuous sound whose\n   * pitch travels — see `meendContinuations`. Consumers pair an attack with its\n   * targets via `glideTargets`.\n   */\n  glide?: true;\n}\n\n/**\n * One accompaniment stretch of the timeline: a লয় and a তাল held constant.\n * A new segment starts wherever either changes — they are independent marks.\n * `scale` is the fraction of the base bpm the passage sounds at, and it is\n * exactly the factor a looping accompaniment must change its own tempo by —\n * `beat` × secondsPerBeat gives its start in seconds. Always at least one\n * segment, the first at beat 0.\n */\nexport interface TempoSegment {\n  /** Start, in schedule beats (see PlayEvent.beat). */\n  beat: number;\n  /** End, in schedule beats (= the next segment's start, or totalBeats). */\n  endBeat: number;\n  scale: number;\n  lay: Lay;\n  /** তাল in force: `meta.taal` until a row's `taal` changes it. `null` = an\n   * explicit মুক্তছন্দ passage; `undefined` = the document names no taal. */\n  taal?: Taal | null;\n}\n\nexport interface Schedule {\n  events: PlayEvent[];\n  /** Total length in matra (the cursor's final value). */\n  totalBeats: number;\n  /**\n   * অনাগত/anacrusis offset: beats the melody must be pushed later so the song's\n   * সম (sam) lands on a cyclic accompaniment's sam. Many songs begin part-way\n   * through the তাল cycle (the notation's first beat-label is `2`/`3`… and the\n   * সম tick `1f`/`2f`… appears a few beats in) — without a shift the pickup note\n   * would sound on the tabla's sam. Derived purely from the notation's own সম\n   * tick position and `meta.taal.numBeats`; 0 when the song starts on sam or has\n   * no sam tick. The player/exporter apply it only when a rhythm actually loops.\n   */\n  pickupBeats: number;\n  /** লয় / তাল stretches, in order and gapless. One entry (drut, scale 1,\n   * `meta.taal`) for a document that never changes either — i.e. every\n   * document written before `row.lay` / `row.taal` existed. */\n  tempo: TempoSegment[];\n}\n\nexport interface ScheduleOptions {\n  /** Tonic; accepts `C`, `C#`, `cs`… (see parseTonic). Default C. */\n  tonic?: string;\n  /** Octave of madhyam Sa (C4 = MIDI 60). Default 4. */\n  baseOctave?: number;\n  /** Override the লয় tempo factors (see LAY_SPEEDS / meta.laySpeeds). */\n  laySpeeds?: LaySpeeds;\n  /** Apply লয় at all. Default true. The staff view sets it false: it reads\n   * `durationBeats` as written note values, where a 0.75 stretch is not a\n   * writable duration. */\n  lay?: boolean;\n  /** Sing the song's form (see playOrder): each `{ }` twice, `( )` only the\n   * first time, the `[ ]` notes on the repeat, and back to the asthayi at each\n   * kali's end. Default false — the written order, which the staff view and\n   * anything grouping events by row rely on; the player and the audio/MIDI\n   * exports turn it on. */\n  repeats?: boolean;\n}\n\n/**\n * Below-annotation raws that are মীড় arc drawing segments (codec known-raw):\n * `w`/`x` are the left/right curled ends, the rest are straight fill pieces.\n * Lives here rather than in the viewer because **both** need it and the viewer\n * may import the player (never the reverse — that would pull Tone into it).\n */\nexport const ARC_RAW_RE = /^[wWxXyYjJeEzZ$=_<>`\\\\]+$/;\nexport const isArcRaw = (raw: string | undefined): raw is string =>\n  raw !== undefined && ARC_RAW_RE.test(raw);\n\n/** The spec's `meend` as the corpus's own arc marks; `both` = close, then re-open. */\nconst MEEND_MARKS: Record<NonNullable<Note['meend']>, string> = { start: 'w', end: 'x', both: 'xw' };\n\n/**\n * Note indices in one row that lie under a মীড় arc **without opening it** —\n * i.e. every note the pitch glides *to*, as opposed to the one it glides\n * *from*.\n *\n * Swarabitan's legend defines the under-arc as \"কোনো এক স্বর যখন আর এক স্বরে\n * বিশেষরূপে গড়াইয়া যায়\" — when one svara *rolls into* another (example:\n * ণা‿পা). It is one continuous phonation, which is why 90 % of the corpus's\n * 7 419 arcs end on a melisma (a note under the *same* held syllable, lyric ৹).\n * So the notes under an arc must not be re-articulated: only the first sounds.\n *\n * Two encodings feed the same scan — the converter's below-row `w`/`x` raws\n * (every meend in the 1738-song corpus) and the spec's own `meend: start|end`\n * (what the creator writes). A cell may carry both ends (`xw` =\n * close then re-open, `wx` = an arc drawn inside the one cell), so marks are\n * read **in order** — reading them as an unordered set left a `wx` arc open and\n * slurred the next eighteen notes into a single slide. Arcs are resolved per row — exactly one arc in the\n * whole corpus wraps across a row, so cross-row state would not pay for itself.\n */\nexport function meendContinuations(notes: Note[]): Set<number> {\n  const out = new Set<number>();\n  /** Notes seen since the arc opened — committed only once it closes. */\n  let pending: number[] | undefined;\n  notes.forEach((note, i) => {\n    let marks = note.meend ? MEEND_MARKS[note.meend] : '';\n    for (const b of note.below ?? []) if (isArcRaw(b.raw)) marks += b.raw;\n    let marked = false;\n    for (const ch of marks) {\n      if (ch === 'x' || ch === 'X') {\n        // Closes here: this note and everything since the open are targets.\n        if (pending !== undefined) for (const k of [...pending, i]) out.add(k);\n        pending = undefined;\n        marked = true;\n      } else if (ch === 'w' || ch === 'W') {\n        pending = []; // opens here: this note is the source, not a target\n        marked = true;\n      }\n    }\n    if (!marked && pending !== undefined) pending.push(i);\n  });\n  // An arc left open at the row's end is a notation slip (5 in 1738 songs), not\n  // a glide: committing it would slur the whole rest of the line into one\n  // 16-beat slide. The viewer still draws it as a system-wrap continuation.\n  return out;\n}\n\n/**\n * The glide targets belonging to the attack at `events[i]`: the pitched events\n * that follow it flagged `glide`. Silent columns (আ-কার holds) are transparent\n * — the note is still ringing through them — but a rest ends the phrase.\n * Consumers skip events that are themselves `glide` (already consumed here).\n */\nexport function glideTargets(events: PlayEvent[], i: number): PlayEvent[] {\n  const out: PlayEvent[] = [];\n  for (let j = i + 1; j < events.length; j++) {\n    const ev = events[j]!;\n    if (ev.kind === 'rest') break;\n    if (ev.midi === null) continue;\n    if (ev.glide !== true) break;\n    out.push(ev);\n  }\n  return out;\n}\n\n/** Schedule beats between a grace and its column's start; consecutive graces step by it. */\nexport const GRACE_STEP = 0.12;\n\n/**\n * When each grace of `ev` sounds, in written order, mirrored around the\n * column's start: a কণ (written left of its svara) touches just before it, a\n * রেশ (written right) just after — so on a hold or rest column they touch under\n * whatever is still ringing. Not at the column's end: every grace is a fresh\n * strike, and one struck just before the next column is heard as its কণ.\n */\nexport function graceTouches(ev: PlayEvent): { midi: number; beat: number }[] {\n  // ponytail: a fixed step, so several graces on a very short column spill past\n  // it (two রেশ on a 1/5-matra note); scale the step by column length if needed.\n  return [\n    ...ev.kan.map((midi, g) => ({ midi, beat: ev.beat - GRACE_STEP * (ev.kan.length - g) })),\n    ...ev.resh.map((midi, g) => ({ midi, beat: ev.beat + GRACE_STEP * (g + 1) })),\n  ];\n}\n\n/**\n * One line of the sheet as the practice controls move by it: a `part.row`\n * with at least one timed column. It runs from its first event to the next\n * line's (the last one to `totalBeats`), so a line's trailing bars and holds\n * belong to it. A row sung twice (a repeat, a return to the asthayi) is two\n * lines with one `row`.\n */\nexport interface Line {\n  /** `part.row` — the viewer's `data-row`. */\n  row: string;\n  /** Index of the line's first event. */\n  first: number;\n  beat: number;\n  endBeat: number;\n}\n\nconst rowOf = (path: string): string => path.split('.').slice(0, 2).join('.');\nconst noteOf = (path: string): number => Number(path.split('.')[2] ?? 0);\n/** Written order of two `part.row` keys. */\nexport const byRow = (a: string, b: string): number => {\n  const [ap = 0, ar = 0] = a.split('.').map(Number);\n  const [bp = 0, br = 0] = b.split('.').map(Number);\n  return ap - bp || ar - br;\n};\n\n/** The schedule's events grouped into sheet lines, in play order. A row of\n * bars and annotations only has no events, so it is not a line; a repeat that\n * jumps back within a row starts a new one. */\nexport function scheduleLines(schedule: Pick<Schedule, 'events' | 'totalBeats'>): Line[] {\n  const lines: Line[] = [];\n  let note = Infinity;\n  schedule.events.forEach((ev, i) => {\n    const n = noteOf(ev.path);\n    if (lines.at(-1)?.row !== rowOf(ev.path) || n < note) lines.push({ row: rowOf(ev.path), first: i, beat: ev.beat, endBeat: 0 });\n    note = n;\n  });\n  lines.forEach((line, k) => (line.endBeat = lines[k + 1]?.beat ?? schedule.totalBeats));\n  return lines;\n}\n\n/** Index of the line holding event `i`. */\nexport function lineAt(lines: Line[], i: number): number {\n  let k = 0;\n  while (k + 1 < lines.length && lines[k + 1]!.first <= i) k++;\n  return k;\n}\n\n/**\n * The line `path` (`part.row[.note]`) names — its own row, else the next row\n * that sounds — sung at the pass nearest line `near` (-1: the first pass).\n * -1 when no line is at or after it.\n */\nexport function lineFor(lines: Line[], path: string, near: number): number {\n  let row: string | undefined;\n  for (const line of lines) if (byRow(line.row, rowOf(path)) >= 0 && (row === undefined || byRow(line.row, row) < 0)) row = line.row;\n  let best = -1;\n  lines.forEach((line, k) => {\n    if (line.row === row && (best < 0 || Math.abs(k - near) < Math.abs(best - near))) best = k;\n  });\n  return best;\n}\n\n/**\n * The event a tap or a seek to `path` (`part.row.note`, or `part.row` for the\n * line's start) should start from: the first event at or after that note in\n * its own line, else the line's last one — a closing bar belongs to its line,\n * not the next — else the next line's first. A line sung more than once\n * resolves to the pass nearest event `near` (default: the first pass). A note\n * reached by a মীড় glide has no attack of its own, so the glide's source is\n * returned instead. -1 when nothing sounds from there on.\n */\nexport function eventAt(events: PlayEvent[], path: string, near = -1): number {\n  const lines = scheduleLines({ events, totalBeats: 0 });\n  const k = lineFor(lines, path, near < 0 ? -1 : lineAt(lines, near));\n  if (k < 0) return -1;\n  const end = lines[k + 1]?.first ?? events.length;\n  let i = lines[k]!.first;\n  if (lines[k]!.row === rowOf(path)) while (i < end - 1 && noteOf(events[i]!.path) < noteOf(path)) i++;\n  while (i > 0 && events[i]!.glide === true) i--;\n  return i;\n}\n\n/** A সম beat-tick: a beat-label digit carrying the reph tick (`1f`/`2F`…). It\n * marks the sam wherever it lands; the digit is a within-line vibhag number, so\n * only the trailing f/F (not the value) identifies sam. Labels live on a note's\n * `above` annotations (see the converter's beat-label handling). */\nconst SAM_TICK = /^\\d+[fF]$/;\n\n/**\n * Walk a document into a flat, time-ordered list of play events.\n *\n *  - svara note → an attack at the cursor; advances by `durationMatra ?? 1`.\n *  - rest → a silent column that still advances the cursor.\n *  - sustain **with** svara (melisma) → a fresh attack (the pitch moves under\n *    a held vowel); advances.\n *  - sustain **without** svara (আ-কার hold) → no attack, but the previous\n *    audible note's ring is extended; still emitted (midi null) so the lyric\n *    column highlights; advances.\n *  - a svara under a মীড় arc (but not the note the arc opened on) → still its\n *    own event, flagged `glide`: the pitch is reached by sliding from the\n *    previous attack rather than by striking again (see meendContinuations).\n *  - bar / bracket-only / carrier / structural raw → ignored (no event, no\n *    advance); an *undecoded* notation cell (see isSilent) instead plays as a\n *    rest, so it keeps its matra and the তাল stays aligned.\n *\n * Written order by default; with `repeats` the walk follows the sung order\n * (playOrder), so a column sung twice is two events with one path.\n */\nexport function buildSchedule(doc: Swaralipi, opts: ScheduleOptions = {}): Schedule {\n  const tonicPc = parseTonic(opts.tonic ?? doc.meta.tonic);\n  const baseOctave = opts.baseOctave ?? 4;\n  const events: PlayEvent[] = [];\n  let cursor = 0;\n  /** Index in `events` of the last pitched attack, for hold-extension. */\n  let lastPitched = -1;\n  /** Matra position of the first সম tick (see SAM_TICK), if any. Counted in\n   * *written* matra, so the anacrusis maths stays independent of the লয়. */\n  let samMatra: number | undefined;\n  let matra = 0;\n\n  // লয় and তাল: a row's mark holds until another row changes it, in written\n  // order — so a repeat or a return to the asthayi sings each row at its own\n  // tempo and taal, not at whatever the jump came from. `scale` < 1 stretches\n  // the written matra over more schedule beats, which is what makes the\n  // passage sound slower at one transport tempo.\n  const speeds = resolveLaySpeeds(doc.meta.laySpeeds, opts.laySpeeds);\n  const withLay = opts.lay !== false;\n  const tempo: TempoSegment[] = [{ beat: 0, endBeat: 0, scale: 1, lay: 'drut', taal: doc.meta.taal }];\n  const rows = new Map<string, { scale: number; lay: Lay; taal: Taal | null | undefined; glides: Set<number> }>();\n  let scale = 1;\n  let layNow: Lay = 'drut';\n  let taal: Taal | null | undefined = doc.meta.taal;\n  doc.parts.forEach((part, p) =>\n    part.rows.forEach((row, r) => {\n      const lay = withLay ? rowLay(row) : undefined;\n      if (lay !== undefined && speeds[lay] !== scale) {\n        scale = speeds[lay];\n        layNow = lay;\n      }\n      if (row.taal !== undefined) taal = row.taal;\n      rows.set(`${p}.${r}`, { scale, lay: layNow, taal, glides: meendContinuations(row.notes) });\n    }),\n  );\n\n  const visits =\n    opts.repeats === true\n      ? playOrder(doc)\n      : doc.parts.flatMap((part, p) => part.rows.flatMap((row, r) => row.notes.map((note, i) => ({ p, r, i, note }))));\n  let rowNow = '';\n  for (const { p, r, i, note } of visits) {\n    const row = rows.get(`${p}.${r}`)!;\n    if (rowNow !== `${p}.${r}`) {\n      rowNow = `${p}.${r}`;\n      // The two marks are independent, so a segment starts wherever either moves.\n      const last = tempo[tempo.length - 1]!;\n      if (row.scale !== last.scale || !sameTaal(row.taal, last.taal)) {\n        const seg: TempoSegment = { beat: cursor, endBeat: cursor, scale: row.scale, lay: row.lay, taal: row.taal };\n        // Two marks with nothing between them are one switch, not a 0-beat segment.\n        if (last.beat === cursor) tempo[tempo.length - 1] = seg;\n        else {\n          last.endBeat = cursor;\n          tempo.push(seg);\n        }\n      }\n    }\n    // A সম tick can ride any column (incl. a bar/carrier), so scan before\n    // the silent-column early return, recording only the first one.\n    if (samMatra === undefined && note.above !== undefined) {\n      for (const a of note.above) {\n        if (a.raw !== undefined && SAM_TICK.test(a.raw)) {\n          samMatra = matra;\n          break;\n        }\n      }\n    }\n    if (note.bar !== undefined || isSilent(note)) continue;\n    const path = `${p}.${r}.${i}`;\n    const written = note.durationMatra ?? 1;\n    const dur = written / row.scale;\n    // Any column that takes time can carry graces, a hold or rest included.\n    const kan = graceMidis(note.kan, tonicPc, baseOctave);\n    const resh = graceMidis(note.resh, tonicPc, baseOctave);\n\n    if (note.svara !== undefined) {\n      // svara note or melisma — a real attack, unless a মীড় glides into it.\n      events.push({\n        beat: cursor,\n        durationBeats: dur,\n        midi: svaraToMidi(note, tonicPc, baseOctave),\n        kan,\n        resh,\n        path,\n        kind: note.sustain === true ? 'sustain' : 'note',\n        ...(row.glides.has(i) && lastPitched >= 0 ? { glide: true as const } : {}),\n      });\n      lastPitched = events.length - 1;\n    } else if (note.sustain === true) {\n      // আ-কার hold — extend the ringing note, emit a silent highlight column.\n      if (lastPitched >= 0) events[lastPitched]!.durationBeats += dur;\n      events.push({ beat: cursor, durationBeats: dur, midi: null, kan, resh, path, kind: 'sustain' });\n    } else {\n      // rest.\n      events.push({ beat: cursor, durationBeats: dur, midi: null, kan, resh, path, kind: 'rest' });\n    }\n    cursor += dur;\n    matra += written;\n  }\n\n  // Anacrusis: shift the melody so its sam falls on a cyclic sam. If sam is at\n  // matra S in an N-beat cycle, S + shift ≡ 0 (mod N) → shift = (N − S mod N) mod N\n  // (a partial-to-full cycle count-in; 0 when the song already starts on sam).\n  // The opening taal's cycle — the one the count-in is played in.\n  const numBeats = tempo[0]!.taal?.numBeats;\n  const pickupMatra =\n    samMatra !== undefined && numBeats !== undefined && numBeats > 0\n      ? (numBeats - (samMatra % numBeats)) % numBeats\n      : 0;\n  tempo[tempo.length - 1]!.endBeat = cursor;\n\n  // The count-in is played at the tempo the song *starts* in.\n  return { events, totalBeats: cursor, pickupBeats: pickupMatra / tempo[0]!.scale, tempo };\n}\n","/**\n * Tone.js instrument/asset factories. Tone is **injected** (never imported\n * here) so this module — like the scheduler — stays free of a static `tone`\n * dependency; the player passes the dynamically-imported module in.\n *\n * Melodic instruments are a small registry (INSTRUMENTS) of Tone.Sampler\n * note→file maps + where to fetch them. `piano` (CC-BY Salamander) is the\n * default and CDN-hosted, as are `harmonium`/`violin`/`flute` (CC-BY,\n * tonejs-instruments); `santoor` is local (under the player's `soundsBaseUrl`).\n * Consumers can register more (e.g. a self-hosted sitar) via the player's\n * `customInstruments` option — true sampled sitar/sarod/sarangi/esraj have no\n * free web set, only commercial Kontakt libraries.\n *\n * Asset layout under `soundsBaseUrl`:\n *   santoor/<note>.mp3        c4..c7 + sharps (37 files)\n *   tanpura/<pc>.mp3          12 pitch classes (c, cs, d, …)\n *   tabla/<seg>/<seg><bpm>bpm.mp3   seg = <taal>[-<variation>], bpm 60..300 step 15\n *   metronome/metro2.mp3\n */\n// Import TAALS from the taals subpath (not the ../spec/index barrel): the\n// barrel re-exports schema.ts, which statically imports zod — pulling that into\n// the player would break its \"loads bare in a browser\" guarantee. taals.ts has\n// only a type-only schema import, so this keeps the player runtime zod-free.\nimport type { Taal } from '../spec/schema.js';\nimport { TAALS, type TaalId } from '../spec/taals.js';\nimport { sCurve, sampleFileName } from './pitch.js';\n\n/** The dynamically-imported Tone module, typed without importing it. */\nexport type ToneModule = typeof import('tone');\n\n/** A melodic instrument: a Tone.Sampler note→filename map + where to find it. */\nexport interface InstrumentDef {\n  /** Human label for UIs. */\n  label: string;\n  /** Tone.Sampler `urls`: note name (`C#4`) → filename (`Cs4.mp3`). */\n  urls: Record<string, string>;\n  /** Sample directory: an absolute URL, or — when `local` — a path segment\n   * appended to the player's `soundsBaseUrl`. */\n  baseUrl: string;\n  /** `baseUrl` is relative to `soundsBaseUrl` (needs it set). */\n  local?: boolean;\n  /** Sampler release time in seconds. */\n  release?: number;\n}\n\n/** Built-in melody instrument ids (consumers may add their own via the\n * player's `customInstruments`, so the runtime id type stays open). */\nexport type InstrumentId = string;\n\n/**\n * Default host for the project's samples (santoor / tabla / tanpura /\n * metronome) — CORS-enabled, so the player works with zero config. Override via\n * the player's `soundsBaseUrl` to self-host. (Melody defaults to the CDN-hosted\n * piano, so it needs no host.) Licences: see THIRD-PARTY.md.\n */\nexport const DEFAULT_SOUNDS_BASE = 'https://bitoron.pages.dev/audio/instruments/';\n/** CC-BY Salamander Grand Piano (Tone's de-facto piano), CDN-hosted. */\nexport const SALAMANDER_BASE = 'https://tonejs.github.io/audio/salamander/';\n/** CC-BY tonejs-instruments sample CDN (harmonium/violin/flute). */\nexport const TONEJS_INSTRUMENTS_BASE = 'https://nbrosowsky.github.io/tonejs-instruments/samples/';\n\n/** Build a Tone.Sampler `urls` map from bare note keys (`C#4` → `Cs4.mp3`). */\nfunction keyMap(keys: readonly string[]): Record<string, string> {\n  const m: Record<string, string> = {};\n  for (const k of keys) m[k] = `${k.replace('#', 's')}.mp3`;\n  return m;\n}\n\nconst PIANO_KEYS = [\n  'A0', 'C1', 'D#1', 'F#1', 'A1', 'C2', 'D#2', 'F#2', 'A2', 'C3', 'D#3', 'F#3',\n  'A3', 'C4', 'D#4', 'F#4', 'A4', 'C5', 'D#5', 'F#5', 'A5', 'C6', 'D#6', 'F#6',\n  'A6', 'C7', 'D#7', 'F#7', 'A7', 'C8',\n] as const;\n// harmonium — a core Rabindrasangeet accompaniment (C2..C5). The CDN set has no F#4 (404).\nconst HARMONIUM_KEYS = [\n  'C2', 'C#2', 'D2', 'D#2', 'E2', 'F2', 'F#2', 'G2', 'G#2', 'A2', 'A#2',\n  'C3', 'C#3', 'D3', 'D#3', 'E3', 'F3', 'F#3', 'G3', 'G#3', 'A3', 'A#3',\n  'C4', 'C#4', 'D4', 'D#4', 'E4', 'F4', 'G4', 'G#4', 'A4', 'A#4',\n  'C5', 'C#5', 'D5',\n] as const;\nconst VIOLIN_KEYS = ['A3', 'C4', 'E4', 'G4', 'A4', 'C5', 'E5', 'G5', 'A5', 'C6', 'E6', 'G6', 'A6', 'C7'] as const;\nconst FLUTE_KEYS = ['C4', 'E4', 'A4', 'C5', 'E5', 'A5', 'C6', 'E6', 'A6', 'C7'] as const;\n\n/** Built-in melody instruments. santoor is local; the rest are CDN-hosted\n * (CC-BY) so they need only network — `pianoBaseUrl`/`customInstruments`\n * override for self-hosting. */\nexport const INSTRUMENTS: Record<string, InstrumentDef> = {\n  piano: { label: 'Grand piano', urls: keyMap(PIANO_KEYS), baseUrl: SALAMANDER_BASE, release: 1 },\n  santoor: { label: 'Santoor', urls: santoorUrls(), baseUrl: 'santoor/', local: true, release: 1.2 },\n  harmonium: { label: 'Harmonium', urls: keyMap(HARMONIUM_KEYS), baseUrl: `${TONEJS_INSTRUMENTS_BASE}harmonium/`, release: 1.4 },\n  violin: { label: 'Violin', urls: keyMap(VIOLIN_KEYS), baseUrl: `${TONEJS_INSTRUMENTS_BASE}violin/`, release: 1 },\n  flute: { label: 'Flute', urls: keyMap(FLUTE_KEYS), baseUrl: `${TONEJS_INSTRUMENTS_BASE}flute/`, release: 1 },\n};\n\n/** Taals with recorded tabla loops (everything else → metronome fallback). */\nexport const SAMPLED_TAALS: ReadonlySet<TaalId> = new Set(\n  Object.keys(TAALS) as TaalId[],\n);\n\n/** Available tabla loop tempos (file suffix `…<bpm>bpm.mp3`). */\nexport const TABLA_BPMS: readonly number[] = Array.from({ length: 17 }, (_, i) => 60 + i * 15);\n\n/**\n * Tabla loop variations per taal. Most taals have one unnamed loop at\n * `tabla/<id>/`; an entry here overrides that:\n *  - `variations` lists the variation suffixes, **first = default**.\n *    A lone named variation (shashthi → `pro`, i.e. `tabla/shashthi-pro/`) IS\n *    the default; later entries are premium upsells the player never auto-selects.\n *    An empty-string entry (kehrwa → `''`) means the unnamed `tabla/<id>/` loop\n *    is the default and a named entry follows it as an upsell.\n *  - `skipBpms` are grid tempos this taal's loops were not recorded at.\n * Consumers read this to build a variation/upsell UI; the player itself only\n * ever plays the default (or whatever a doc's `meta.taal.variation` pins).\n */\nexport const TABLA_VARIATIONS: Record<\n  string,\n  { variations: string[]; skipBpms?: number[] }\n> = {\n  // ষষ্ঠী loops live under `tabla/shashthi-pro/`; full bpm grid recorded except 225.\n  shashthi: { variations: ['pro'], skipBpms: [225] },\n  // Kehrwa keeps its unnamed default loop; `qawwali` (tabla/kehrwa-qawwali/) is a\n  // premium upsell variation recorded 90–300 (no 60/75).\n  // ponytail: skipBpms is per-taal, so it can't restrict qawwali's 60/75 without\n  // also dropping them from the default (which has them) — a qawwali doc pinned\n  // ≤67 bpm 404s harmlessly. Make skipBpms per-variation only if that edge bites.\n  kehrwa: { variations: ['', 'qawwali'] },\n};\n\n/** Tabla tempos actually available for a taal: the grid minus any it lacks. */\nexport function tablaBpms(taalId: string): readonly number[] {\n  const skip = TABLA_VARIATIONS[taalId]?.skipBpms;\n  return skip && skip.length ? TABLA_BPMS.filter((b) => !skip.includes(b)) : TABLA_BPMS;\n}\n\n/** CDN directory/filename segment for a taal's tabla loop: `<taalId>` or\n * `<taalId>-<variation>` (explicit variation, else the taal's default). */\nfunction tablaSeg(taalId: string, variation?: string): string {\n  const v = variation ?? TABLA_VARIATIONS[taalId]?.variations[0]; // default = first variation, else unnamed\n  return v ? `${taalId}-${v}` : taalId;\n}\n\n/** Ensure exactly one trailing slash. */\nexport function normalizeBase(url: string): string {\n  return url.endsWith('/') ? url : `${url}/`;\n}\n\n/** The 37 santoor samples, as a Tone.Sampler `urls` map (`C4` → `c4.mp3`). */\nexport function santoorUrls(): Record<string, string> {\n  const urls: Record<string, string> = {};\n  const add = (midi: number) => {\n    const stem = sampleFileName(midi); // e.g. cs4\n    const name = stem.replace('s', '#').replace(/^(.)/, (c) => c.toUpperCase()); // C#4\n    urls[name] = `${stem}.mp3`;\n  };\n  for (let midi = 60; midi <= 95; midi++) add(midi); // C4..B6 (full)\n  add(96); // C7\n  return urls;\n}\n\nconst PC_BASE: Record<string, number> = { c: 0, d: 2, e: 4, f: 5, g: 7, a: 9, b: 11 };\n\n/** Parse a sample note name (`C#4`, `Ds3`, `Bb2`) to a MIDI number. */\nexport function noteToMidi(name: string): number {\n  const m = /^([a-g])([#sb]?)(-?\\d+)$/i.exec(name.trim());\n  if (!m) return NaN;\n  const base = PC_BASE[m[1]!.toLowerCase()]!;\n  const acc = m[2] === 'b' ? -1 : m[2] === '' ? 0 : 1; // # / s → sharp\n  return (Number(m[3]) + 1) * 12 + base + acc;\n}\n\n/**\n * Restrict a Sampler `urls` map to just the samples needed to cover MIDI\n * `[lo, hi]`: every sample inside the range, plus the nearest one below and\n * above it (so Tone interpolates the edges without extrapolating). Cuts a\n * typical song from ~37 santoor files to a handful — a big win on mobile and\n * never worse on fast links (Tone fetches what's left in parallel). The\n * Sampler pitch-shifts from the nearest sample, so audio is unchanged.\n */\nexport function subsetUrls(\n  urls: Record<string, string>,\n  lo: number,\n  hi: number,\n): Record<string, string> {\n  const entries = Object.entries(urls)\n    .map(([k, f]) => ({ k, f, midi: noteToMidi(k) }))\n    .filter((e) => Number.isFinite(e.midi))\n    .sort((a, b) => a.midi - b.midi);\n  if (entries.length === 0) return { ...urls };\n\n  const keep = new Set<string>();\n  for (const e of entries) if (e.midi >= lo && e.midi <= hi) keep.add(e.k);\n  // nearest sample at/below lo and at/above hi for clean interpolation\n  let floor: string | undefined;\n  let ceil: string | undefined;\n  for (const e of entries) if (e.midi <= lo) floor = e.k;\n  for (const e of entries) if (e.midi >= hi) { ceil = e.k; break; }\n  if (floor) keep.add(floor);\n  if (ceil) keep.add(ceil);\n  if (keep.size === 0) {\n    // range entirely outside the sample set — keep the single nearest sample\n    const mid = (lo + hi) / 2;\n    const nearest = entries.reduce((a, b) => (Math.abs(b.midi - mid) < Math.abs(a.midi - mid) ? b : a));\n    keep.add(nearest.k);\n  }\n\n  const out: Record<string, string> = {};\n  for (const e of entries) if (keep.has(e.k)) out[e.k] = e.f;\n  return out;\n}\n\n/** Resolve a representative sample URL for an instrument (its first sample),\n * used to probe availability. undefined when a local instrument has no\n * `soundsBaseUrl` or the def has no samples. */\nexport function instrumentSampleUrl(def: InstrumentDef, soundsBaseUrl?: string): string | undefined {\n  if (def.local && soundsBaseUrl === undefined) return undefined;\n  const base = def.local ? `${normalizeBase(soundsBaseUrl ?? '')}${def.baseUrl}` : def.baseUrl;\n  const file = Object.values(def.urls)[0];\n  return file === undefined ? undefined : `${normalizeBase(base)}${file}`;\n}\n\n/**\n * Liveness check for a sample URL: a single tiny ranged GET (one byte), the\n * same CORS-enabled fetch Tone uses to load the buffer — so a pass means Tone\n * can actually load it. Resolves false on any error/timeout/non-2xx, and false\n * (no throw) when `fetch` is unavailable (Node/SSR). `Range: bytes=0-0` is a\n * CORS-safelisted header, so no preflight.\n */\nexport async function probeUrl(url: string, timeoutMs = 6000): Promise<boolean> {\n  if (typeof fetch === 'undefined') return false;\n  const ctrl = typeof AbortController !== 'undefined' ? new AbortController() : undefined;\n  const timer = ctrl ? setTimeout(() => ctrl.abort(), timeoutMs) : undefined;\n  try {\n    const res = await fetch(url, {\n      method: 'GET',\n      headers: { Range: 'bytes=0-0' },\n      cache: 'no-store',\n      signal: ctrl?.signal,\n    });\n    return res.ok; // 200 / 206\n  } catch {\n    return false;\n  } finally {\n    if (timer !== undefined) clearTimeout(timer);\n  }\n}\n\n/**\n * Snap a tabla loop's end to the nearest whole beat of its measured length so a\n * slightly-mistrimmed file still phase-locks to the melody grid instead of\n * drifting a fraction of a beat each cycle. `spb` = seconds per beat (60/bpm).\n * No-op for correctly trimmed loops (already an integer beat count); never\n * extends past the buffer — a too-short file can't be repaired here.\n *\n * ponytail: belt-and-braces for off-spec audio; the real fix is trimming each\n * loop to exactly `cycles × numBeats × 60/bpm` seconds at production time.\n */\nexport function quantizeLoopEnd(durationSec: number, spb: number): number {\n  if (spb <= 0) return durationSec;\n  const beats = Math.round(durationSec / spb);\n  if (beats < 1) return durationSec; // too short to snap to a beat\n  return Math.min(beats * spb, durationSec);\n}\n\n/** Snap an arbitrary bpm to the nearest available tabla tempo (default grid;\n * pass a taal's `tablaBpms()` so it never snaps to a tempo that taal lacks). */\nexport function nearestTablaBpm(bpm: number, bpms: readonly number[] = TABLA_BPMS): number {\n  return bpms.reduce((best, b) => (Math.abs(b - bpm) < Math.abs(best - bpm) ? b : best), bpms[0]!);\n}\n\n/** URL of the tabla loop for a taal at a (snapped) bpm, optionally a named\n * variation (defaults to the taal's default variation — see TABLA_VARIATIONS). */\nexport function tablaUrl(base: string, taalId: string, bpm: number, variation?: string): string {\n  const seg = tablaSeg(taalId, variation);\n  return `${normalizeBase(base)}tabla/${seg}/${seg}${bpm}bpm.mp3`;\n}\n\n/**\n * Pitch class (0 = C) the tabla loops were recorded at: their dayan (the tuned\n * right drum) rings at Sa ≈ C — measured off the CDN loops themselves\n * (spectral peak of the stroke decays, ~529 Hz = C5 +20 cents, consistent\n * across taals and across every bpm variant, i.e. the tempo set was\n * time-stretched, not resampled). Calibration knob: re-measure and change this\n * if the loop set is ever re-recorded.\n */\nexport const TABLA_TONIC_SEMITONE = 0;\n\n/**\n * Semitones to pitch-shift a tabla loop so its dayan matches the song's Sa.\n * Wrapped to the nearer direction (−5…+6): the drum is octave-agnostic, so a\n * B tonic shifts down 1 rather than up 11.\n */\nexport function tablaShiftSemitones(tonicSemitone: number): number {\n  const d = (((tonicSemitone - TABLA_TONIC_SEMITONE) % 12) + 12) % 12;\n  return d > 6 ? d - 12 : d;\n}\n\n/**\n * Grain settings for a retuned tabla loop (`Tone.GrainPlayer`, which detunes\n * independently of playback rate — so the loop keeps its recorded tempo and\n * stays phase-locked).\n *\n * Why not `Tone.PitchShift` after a plain `Player`: measured offline on the\n * teentaal loop, both shift accurately (±2 and −5 semitones confirmed by\n * spectral cross-correlation), but PitchShift's delay lines push the first\n * stroke 20–35 ms late (audibly behind the melody) and smear the spectrum;\n * GrainPlayer holds the onset at ~4 ms. Grains short enough not to blur the\n * strokes, overlapped half-way so the loop stays seamless.\n */\nexport const TABLA_GRAIN_SEC = 0.06;\nexport const TABLA_GRAIN_OVERLAP_SEC = 0.03;\n\n/** URL of the metronome click. */\nexport function metronomeUrl(base: string): string {\n  return `${normalizeBase(base)}metronome/metro2.mp3`;\n}\n\n/** Build the metronome click `Tone.Player`. */\nexport function createMetronome(Tone: ToneModule, base: string) {\n  return new Tone.Player(metronomeUrl(base));\n}\n\n/** Tanpura pitch-class sample stems (filename = `<stem>.mp3`). */\nexport const TANPURA_PCS = ['c', 'cs', 'd', 'ds', 'e', 'f', 'fs', 'g', 'gs', 'a', 'as', 'b'] as const;\n\n/* ---- Drum kit (Western-drumset rendering of an Indian taal) ------------\n *\n * A real drumset \"translation\" of tabla bols is an established practice\n * (e.g. Sunny Jain's Drum Atlas: India — kick on sam, snare on the accented\n * tali claps, hi-hat filling/ghosting the khaali wave), not something\n * invented here. DRUM_VOICES are one-shot acoustic-kit samples (CC0-cleared\n * Apache-2.0 Tonejs/audio collection, https://github.com/Tonejs/audio,\n * already the CDN this project uses directly for the Salamander piano) —\n * same trust tier as the other CDN-hosted instruments, no new hosting.\n */\nexport const DRUM_KIT_BASE = 'https://tonejs.github.io/audio/drum-samples/acoustic-kit/';\n\nexport type DrumVoice = 'kick' | 'snare' | 'hihat' | 'tom1' | 'tom2' | 'tom3';\nconst DRUM_FILES: Record<DrumVoice, string> = {\n  kick: 'kick.mp3',\n  snare: 'snare.mp3',\n  hihat: 'hihat.mp3',\n  tom1: 'tom1.mp3',\n  tom2: 'tom2.mp3',\n  tom3: 'tom3.mp3',\n};\n\n/** Build the drum-kit `Tone.Players` (one-shot voices, not looped/pitched). */\nexport function createDrumKit(Tone: ToneModule, base: string = DRUM_KIT_BASE) {\n  const urls: Record<string, string> = {};\n  for (const [voice, file] of Object.entries(DRUM_FILES)) urls[voice] = file;\n  return new Tone.Players({ urls, baseUrl: normalizeBase(base) });\n}\n\n/**\n * Per-beat drumset voice for one তাল cycle, following sam/tali/khaali theory:\n * sam (cycle start) → kick, the first beat of each accented (non-khaali)\n * vibhag → snare (the tali clap), the first beat of a khaali vibhag → closed\n * hihat (the khaali \"wave off\"), every other beat → hihat (fill, keeping the\n * kit's groove going the way a tabla's filler strokes do).\n */\nexport function drumPattern(taal: Pick<Taal, 'numBeats' | 'sam' | 'bhaags' | 'khaali'>): DrumVoice[] {\n  const n = taal.numBeats;\n  const sam = taal.sam ?? 0;\n  const khaali = new Set(taal.khaali ?? []);\n  const bhaags = taal.bhaags ?? [n];\n  const pattern: DrumVoice[] = new Array(n).fill('hihat');\n\n  let pos = 0;\n  for (const len of bhaags) {\n    pattern[pos] = khaali.has(pos) ? 'hihat' : 'snare';\n    pos += len;\n  }\n  pattern[sam] = 'kick';\n  return pattern;\n}\n\n/**\n * Build a melody `Tone.Sampler` for an instrument def. Resolves the sample\n * directory (local → under `soundsBaseUrl`, else the def's absolute CDN URL)\n * and, when a MIDI `range` is given, loads only the samples that cover it.\n */\nexport function createSampler(\n  Tone: ToneModule,\n  def: InstrumentDef,\n  soundsBaseUrl: string | undefined,\n  range?: { lo: number; hi: number },\n) {\n  const base = def.local ? `${normalizeBase(soundsBaseUrl ?? '')}${def.baseUrl}` : def.baseUrl;\n  const urls = range ? subsetUrls(def.urls, range.lo, range.hi) : def.urls;\n  return new Tone.Sampler({ urls, baseUrl: normalizeBase(base), release: def.release ?? 1 });\n}\n\n/* ---- মীড় (meend) — the sounded glide -------------------------------------\n *\n * A মীড় is one continuous sound whose pitch travels between svaras; the notes\n * it covers are never re-struck. A `Tone.Sampler` cannot do that — it has no\n * pitch parameter at all (checked against tone 15's own typings). What it does\n * have, one layer down, is `ToneBufferSource.playbackRate`, a real AudioParam:\n * so a glide is the instrument's own sample, started once, with its playback\n * rate automated — a tape slide, which is exactly what a hardware sampler does\n * for portamento.\n *\n * The pitch is automated as an S-curve (see `sCurve`), not a straight line, and\n * it leaves the source svara only after `MEEND_HOLD` of the gap so the written\n * note keeps its identity before rolling into the next — arriving exactly on\n * the target's own matra.\n *\n * ponytail: the glide reads from a second `ToneAudioBuffers` over the same\n * URLs as the Sampler (the browser HTTP cache means no extra download, just a\n * second decode). Share one buffer set if memory ever matters.\n */\n\n/**\n * Fraction of the gap between two মীড় notes spent holding the source pitch\n * before the slide begins. 0 = slide the whole way (an alaap-slow meend);\n * 0.5 = hold half the note, then roll into the target.\n */\nexport const MEEND_HOLD = 0.5;\n\n/** Automation points per glide leg — enough to hear as continuous. */\nconst GLIDE_STEPS = 24;\n\n/** Sampler `urls` key whose pitch is nearest `midi` (the sample to slide). */\nexport function nearestSampleKey(urls: Record<string, string>, midi: number): string {\n  let best = '';\n  let bestDiff = Infinity;\n  for (const key of Object.keys(urls)) {\n    const diff = Math.abs(noteToMidi(key) - midi);\n    if (diff < bestDiff) {\n      bestDiff = diff;\n      best = key;\n    }\n  }\n  return best;\n}\n\n/** The same samples `createSampler` loads, as raw buffers for the glide voice. */\nexport function createBuffers(\n  Tone: ToneModule,\n  def: InstrumentDef,\n  soundsBaseUrl: string | undefined,\n  range?: { lo: number; hi: number },\n) {\n  const base = def.local ? `${normalizeBase(soundsBaseUrl ?? '')}${def.baseUrl}` : def.baseUrl;\n  const urls = range ? subsetUrls(def.urls, range.lo, range.hi) : def.urls;\n  return { buffers: new Tone.ToneAudioBuffers({ urls, baseUrl: normalizeBase(base) }), urls };\n}\n\n/** One মীড় leg: the pitch to reach and the absolute time to reach it by. */\nexport interface GlideLeg {\n  midi: number;\n  /** Seconds on the transport; `legs[0]` is the attack itself. */\n  at: number;\n}\n\n/**\n * Sound one মীড় phrase: a single attack on `legs[0]` whose pitch then slides\n * through every following leg, ending at `endSec`. Used by both the live\n * player and the offline export.\n */\nexport function triggerGlide(\n  Tone: ToneModule,\n  buffers: InstanceType<ToneModule['ToneAudioBuffers']>,\n  urls: Record<string, string>,\n  dest: InstanceType<ToneModule['Gain']>,\n  legs: readonly GlideLeg[],\n  endSec: number,\n  release = 1,\n  hold = MEEND_HOLD,\n): void {\n  const key = nearestSampleKey(urls, legs[0]!.midi);\n  if (key === '' || !buffers.has(key)) return;\n  const sampleMidi = noteToMidi(key);\n  const rate = (midi: number) => Math.pow(2, (midi - sampleMidi) / 12);\n\n  const source = new Tone.ToneBufferSource({\n    url: buffers.get(key),\n    fadeOut: release,\n    curve: 'exponential',\n    // Bind to the destination's context explicitly. `Tone.Offline` restores the\n    // global context the moment it starts rendering, so a node built inside a\n    // transport callback would otherwise land on the *online* context and the\n    // offline export would render the glide as silence.\n    context: dest.context,\n  }).connect(dest);\n  // Clean up after the note — but only on a live context. An offline render\n  // runs its whole clock *before* `startRendering()`, so an onended-dispose\n  // would disconnect the node before a single sample was rendered (the export\n  // came out silent). The offline context is discarded wholesale anyway.\n  if (!dest.context.isOffline) source.onended = () => source.dispose();\n\n  const rates = source.playbackRate;\n  rates.setValueAtTime(rate(legs[0]!.midi), legs[0]!.at);\n  for (let k = 1; k < legs.length; k++) {\n    const from = legs[k - 1]!;\n    const to = legs[k]!;\n    const start = from.at + (to.at - from.at) * hold;\n    const values: number[] = [];\n    for (let n = 0; n <= GLIDE_STEPS; n++) {\n      values.push(rate(from.midi + (to.midi - from.midi) * sCurve(n / GLIDE_STEPS)));\n    }\n    rates.setValueCurveAtTime(values, start, Math.max(to.at - start, 0.02));\n  }\n  source.start(legs[0]!.at, 0, Math.max(endSec - legs[0]!.at, 0.05));\n}\n\n/** Build a tanpura `Tone.Players` loading only the given pitch-class stems\n * (the drone only ever plays Sa + Pa, so we fetch 2 files, not 12). */\nexport function createTanpura(Tone: ToneModule, base: string, stems: readonly string[] = TANPURA_PCS) {\n  const urls: Record<string, string> = {};\n  for (const s of stems) urls[s] = `${s}.mp3`;\n  return new Tone.Players({ urls, baseUrl: `${normalizeBase(base)}tanpura/` });\n}\n"]}

package/dist/cli.cjs

@@ -180,8 +180,10 @@ var init_taals = __esm({
       // ঝম্পক
       dhamaar: { id: "dhamaar", numBeats: 14, bhaags: [5, 2, 3, 4], sam: 0, khaali: [7] },
       // ধামার
-      rupakra: { id: "rupakra", numBeats: 8, bhaags: [3, 2, 3], sam: 0 }
+      rupakra: { id: "rupakra", numBeats: 8, bhaags: [3, 2, 3], sam: 0 },
       // রূপকড়া
+      khemta: { id: "khemta", numBeats: 12, bhaags: [3, 3, 3, 3], sam: 0, khaali: [6] }
+      // খেমটা
     };
     TAAL_FERTA = "\u09A4\u09BE\u09B2\u09AB\u09C7\u09B0\u09A4\u09BE";
   }
@@ -193,7 +195,7 @@ var init_spec = __esm({
   "src/spec/index.ts"() {
     init_schema();
     init_taals();
-    SPEC_VERSION = "0.11.1";
+    SPEC_VERSION = "0.13.0";
   }
 });
 
@@ -535,7 +537,8 @@ var init_taal_map = __esm({
       \u0986\u09A1\u09BC\u09BE\u099A\u09CC\u09A4\u09BE\u09B2: "adachautaal",
       \u099D\u09AE\u09CD\u09AA\u0995: "jhampak",
       \u09B0\u09C1\u09AA\u0995\u09A1\u09BC\u09BE: "rupakra",
-      \u09B0\u09C2\u09AA\u0995\u09A1\u09BC\u09BE: "rupakra"
+      \u09B0\u09C2\u09AA\u0995\u09A1\u09BC\u09BE: "rupakra",
+      \u0996\u09C7\u09AE\u099F\u09BE: "khemta"
     };
     BN_TAAL_DEFS = {
       \u09A4\u09C7\u0993\u09A1\u09BC\u09BE: { id: "teora", numBeats: 7, bhaags: [3, 2, 2], sam: 0 },
@@ -550,7 +553,6 @@ var init_taal_map = __esm({
     };
     BN_TAAL_IDS = {
       \u0995\u09BE\u0993\u09AF\u09BC\u09BE\u09B2\u09BF: "kawali",
-      \u0996\u09C7\u09AE\u099F\u09BE: "khemta",
       \u0986\u09A1\u09BC\u09BE\u09A0\u09C7\u0995\u09BE: "araatheka",
       \u0995\u09BE\u09B6\u09CD\u09AE\u09C0\u09B0\u09BF: "kashmiri",
       "\u09AF\u09CE": "yat",