kb: add reggae guitar pack
5 progressions (circular I-IV-V, two-chord vamp, i-bVII minor vamp, No Woman No Cry I-V6-vi-IV, verified rocksteady I-ii-iii-ii) x 2 plays: top-3 skank triads, Wailers middle-string set, top-4 partials, quality-neutral 5+R dyads. One-drop/double-skank/ska/bubble grids documented. Research flags honoured (NWNC is major-key; Get Up Stand Up stored as near-one-chord; doo-wop claim replaced with verified Queen Majesty changes). Validator and build green. Co-Authored-By: Claude Fable 5 <noreply@anthropic.com>
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vadimwit
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@@ -17,7 +17,7 @@ The queue for the `/kb-expand` loop. One cell per session, top-to-bottom. Protoc
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| 3 | Rock | done (2026-06-12, 5 progressions × 2 plays, validator ✓) |
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| 4 | Bossa Nova | done (2026-06-12, 5 progressions × 2 plays, validator ✓) |
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| 5 | Funk | done (2026-06-12, 5 progressions × 2 plays, validator ✓) |
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| 6 | Reggae | todo |
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| 6 | Reggae | done (2026-06-12, 5 progressions × 2 plays, validator ✓) |
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| 7 | Country / Folk | todo |
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| 8 | R&B / Neo-soul | todo |
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| 9 | Gospel | todo |
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@@ -15,6 +15,9 @@ import bossaGuitar from './bossa/guitar.js'
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import funkMeta from './funk/meta.js'
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import funkProgressions from './funk/progressions.js'
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import funkGuitar from './funk/guitar.js'
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import reggaeMeta from './reggae/meta.js'
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import reggaeProgressions from './reggae/progressions.js'
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import reggaeGuitar from './reggae/guitar.js'
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export default {
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jazz: {
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@@ -42,4 +45,9 @@ export default {
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progressions: funkProgressions,
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instruments: { guitar: funkGuitar },
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},
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reggae: {
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meta: reggaeMeta,
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progressions: reggaeProgressions,
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instruments: { guitar: reggaeGuitar },
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},
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}
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@@ -0,0 +1,182 @@
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// Reggae guitar pack. Shapes verified by note-spelling against: guitarwiz.app
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// (skank voicings, bubble grid), guitarworld.com (Marley rhythm lesson),
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// guitarkitchen.com (Stir It Up / Get Up Stand Up lessons), Wikipedia ("Ska
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// stroke", "One drop rhythm"), ethanhein.com (Stir It Up hook analysis).
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// Top-3-string triads — the classic skank register (above the bubble, far above the bass).
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const TOP3_MAJ = { rootStr: 1, offsets: ['x', 'x', 'x', 1, 0, 0], fingers: [0, 0, 0, 2, 1, 1] } // 3-5-R
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const TOP3_MIN = { rootStr: 1, offsets: ['x', 'x', 'x', 0, 0, 0], fingers: [0, 0, 0, 1, 1, 1] } // ♭3-5-R barre
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// Middle-string triads (strings 4-3-2) — the Wailers chop register.
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const MID_MAJ = { rootStr: 3, offsets: ['x', 'x', 0, 0, 0, 'x'], fingers: [0, 0, 1, 1, 1, 0] } // 5-R-3
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const MID_MIN = { rootStr: 3, offsets: ['x', 'x', 0, 0, -1, 'x'], fingers: [0, 0, 2, 3, 1, 0] } // 5-R-♭3
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// Top-4 partial barres — fuller chop, still no low strings.
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const TOP4_MAJ = { rootStr: 4, offsets: ['x', 'x', 0, -1, -2, -2], fingers: [0, 0, 4, 3, 1, 1] } // R-3-5-R
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const TOP4_MIN = { rootStr: 4, offsets: ['x', 'x', 0, -2, -2, -2], fingers: [0, 0, 4, 1, 1, 1] } // R-♭3-5-R
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// Quality-neutral 5th+root dyad (strings B+e) — works over major or minor.
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const DYAD_5R = { rootStr: 1, offsets: ['x', 'x', 'x', 'x', 0, 0], fingers: [0, 0, 0, 0, 1, 1] }
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export default {
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styleIntro:
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'The reggae guitarist plays one thing and plays it perfectly: the skank — a small, high, choked chord chop strictly on the offbeats. Beat 1 is sacred silence (the one drop), beat 3 belongs to the drums, the low end belongs to the bass. Strike, choke, wait.',
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comping: [
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{
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label: 'One-drop skank',
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rhythm: '. . X . | . . X . — chops on 2 and 4 only',
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description: 'The core part. Strike the chord, release fret pressure instantly (fingers stay touching, off the frets), silence until the next chop. Downstroke-dominant in reggae. Counted double-time it becomes the and-of-every-beat.',
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},
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{
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label: 'Double skank (Stir It Up)',
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rhythm: '. . D U | . . D U — down-up pair on 2 and 4',
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description: 'Each chop splits into a two-hit "chak-a": downstroke on the beat, upstroke on its and. The rockers-era intensifier — same placement, doubled motion.',
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},
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{
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label: 'Ska upstroke',
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rhythm: '. U . U . U . U — every offbeat 8th, bright and fast',
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description: 'The same offbeat principle at 120–180 BPM: upstrokes on every "and". Rocksteady is this relaxed; roots reggae is this halved. The placement never changes across the whole family — only the drums do.',
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},
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{
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label: 'The bubble (only without keys)',
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rhythm: '. . X X . . X X . . X X . . X X — the "& a" of every beat',
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description: 'Normally the organ\'s job (Jackie Mittoo): a palm-muted continuous offbeat pulse in the midrange. Cover it on guitar only when there is no keyboardist — never alongside one.',
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},
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],
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plays: {
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'reggae-stir': [
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{
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label: 'Top-3 triads (the classic skank)',
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level: 'intermediate',
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chords: [
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{ shape: TOP3_MAJ, note: 'I' },
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{ shape: TOP3_MAJ, note: 'IV — same shape up the neck' },
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{ shape: TOP3_MAJ, note: 'V — two frets above the IV' },
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],
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tips: 'One shape, three positions, chop on 2 and 4. The chop must die immediately — if a chord rings into the next beat, that\'s a rock strum, not a skank.',
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},
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{
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label: 'Middle-string set (Wailers register)',
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level: 'intermediate',
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chords: [
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{ shape: MID_MAJ, note: 'I — strings 4-3-2' },
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{ shape: MID_MAJ, note: 'IV' },
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{ shape: MID_MAJ, note: 'V' },
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],
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tips: 'A warmer chop one string set down — the Marley band register. Use it when a second guitar or keys already occupy the top strings.',
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},
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],
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'reggae-two-chord': [
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{
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label: 'Top-3 triads',
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level: 'intermediate',
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chords: [
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{ shape: TOP3_MAJ, note: 'I' },
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{ shape: TOP3_MAJ, note: 'IV — five frets up, or two down on the next string set' },
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],
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tips: 'Two chords for the whole tune means the skank IS your entire job: identical length, identical volume, every chop. Boredom is the test — pass it.',
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},
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{
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label: 'Top-4 partial barres',
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level: 'intermediate',
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chords: [
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{ shape: TOP4_MAJ, note: 'I' },
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{ shape: TOP4_MAJ, note: 'IV' },
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],
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tips: 'The fuller chop for when the band is sparse — still nothing below the D string. Half-press the barre (Marley style) and the chop turns almost fully percussive.',
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},
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],
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'reggae-minor-vamp': [
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{
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label: 'Top-3 triads',
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level: 'intermediate',
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chords: [
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{ shape: TOP3_MIN, note: 'i — one-finger barre' },
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{ shape: TOP3_MAJ, note: '♭VII — a passing breath, two frets down' },
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],
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tips: 'Treat the ♭VII as ornament, not destination — Get Up Stand Up is functionally one chord, and the groove is the message. The intro hook (♭7→root on the G string) doubles the bass.',
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},
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{
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label: 'Middle-string set',
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level: 'intermediate',
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chords: [
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{ shape: MID_MIN, note: 'i' },
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{ shape: MID_MAJ, note: '♭VII' },
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],
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tips: 'Lower, darker chop for the heavier roots feel. Keep the choke brutal at slow tempos — space is the instrument at 75 BPM.',
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},
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],
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'reggae-nwnc': [
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{
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label: 'Top-3 triads with the bass walk',
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level: 'intermediate',
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chords: [
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{ shape: TOP3_MAJ, note: 'I' },
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{ shape: TOP3_MAJ, note: 'V — the bass plays its 3rd underneath; your triad doesn\'t change' },
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{ shape: TOP3_MIN, note: 'vi' },
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{ shape: TOP3_MAJ, note: 'IV' },
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],
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tips: 'The V⁶\'s descending bass (root→7th of the scale→6th) is the bassist\'s line — your job is to NOT double it. Stay high, stay small, let the walk happen below you.',
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},
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{
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label: 'Neutral 5+R dyads',
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level: 'intermediate',
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chords: [
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{ shape: DYAD_5R, omit3: true, note: 'I' },
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{ shape: DYAD_5R, omit3: true, note: 'V' },
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{ shape: DYAD_5R, omit3: true, note: 'vi — same dyad; the bass supplies the minor' },
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{ shape: DYAD_5R, omit3: true, note: 'IV' },
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],
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tips: 'Two strings, no 3rd — quality-neutral, so one dyad shape skanks the whole progression while bass and vocals colour it. The most transparent part you can play behind a singer.',
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},
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],
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'reggae-rocksteady': [
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{
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label: 'Top-3 triads, doo-wop sweetness',
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level: 'intermediate',
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chords: [
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{ shape: TOP3_MAJ, note: 'I' },
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{ shape: TOP3_MIN, note: 'ii' },
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{ shape: TOP3_MIN, note: 'iii — two frets up' },
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{ shape: TOP3_MIN, note: 'ii' },
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],
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tips: 'A diatonic staircase: the minor barre walks up two frets and back while the I anchors. Rocksteady tempo (~86 BPM) sits between ska\'s sprint and roots\' crawl — relax the chop accordingly.',
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},
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{
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label: 'Top-4 partial barres',
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level: 'intermediate',
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chords: [
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{ shape: TOP4_MAJ, note: 'I' },
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{ shape: TOP4_MIN, note: 'ii' },
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{ shape: TOP4_MIN, note: 'iii' },
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{ shape: TOP4_MIN, note: 'ii' },
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],
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tips: 'The soul-ballad version of the skank — slightly fuller, still bass-free. Good under a falsetto lead vocal where top-3 triads would crowd the singer\'s register.',
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},
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],
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},
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improv: {
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scales: [
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{ over: 'major vamps', scale: 'major', why: 'Major pentatonic fills in the gaps AFTER vocal lines — call and response, never over the singer.' },
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{ over: 'i–♭VII vamps', scale: 'minor', why: 'Minor pentatonic answer phrases; the ♭7 doubles as the ♭VII chord\'s root — the free note of roots reggae.' },
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{ over: 'any vamp (riddim role)', scale: 'minor', why: 'The classic second-guitar job is doubling the bass melody in unison, palm-muted for a dull attack — locked exactly, not approximately.' },
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],
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targetNotes:
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'Reggae lead is economy: short pentatonic answers in vocal gaps, high picked arpeggios of the current chord with 16th-note pickups, or unison bass-doubling. If you\'re not sure whether to play — don\'t. Beat 1 stays empty even for the soloist\'s instincts.',
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licks: [
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{
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over: 'reggae-stir',
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description: 'The Stir It Up hook (reconstruction from Ethan Hein\'s published note-by-note analysis, not a record transcription): an ornamented rise A→C♯→D over the I, then arpeggios of the IV and V with 16th-note pickups carrying the swing.',
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tab: ' A (I) D (IV) E (V)\ne|--------------------|----2----5---|----4----7----\nB|---------2----3-----|--3----------|--5-----------\nG|----2---------------|-------------|--------------\n A C# D D F# A E G# B',
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source: 'ethanhein.com "Musical simples: Stir It Up"; Bob Marley & The Wailers (1973)',
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},
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],
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},
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}
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export default {
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id: 'reggae',
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label: 'Reggae',
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feel: 'one drop',
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tempoRange: [70, 95],
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character: 'Strict role separation and sacred negative space: bass owns the melody, drums drop beat one entirely, and the guitar is a choked offbeat chop that never, ever lands on 1 or 3.',
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}
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@@ -0,0 +1,57 @@
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export default [
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{
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id: 'reggae-stir',
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name: 'Circular I–IV–V vamp',
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rn: ['I', 'IV', 'V'],
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degrees: [0, 5, 7],
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qualities: ['maj', 'maj', 'maj'],
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bars: [2, 1, 1],
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mode: 'major',
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songs: ['Stir It Up — Bob Marley & The Wailers'],
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tip: 'Not a cadence — a wheel: a full bar of I, then IV and V share a bar, forever. The V never "resolves"; it just hands back to the I.',
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},
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{
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id: 'reggae-two-chord',
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name: 'Two-chord I–IV vamp',
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rn: ['I', 'IV'],
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degrees: [0, 5],
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qualities: ['maj', 'maj'],
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bars: [2, 2],
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mode: 'major',
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songs: ['Lively Up Yourself — Bob Marley'],
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tip: 'Two chords for an entire song. The interest is the interlock — every instrument in its own time slot — not the harmony.',
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},
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{
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id: 'reggae-minor-vamp',
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name: 'Minor vamp (i–♭VII)',
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rn: ['i', '♭VII'],
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degrees: [0, 10],
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qualities: ['min', 'maj'],
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bars: [3, 1],
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mode: 'minor',
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songs: ['Get Up, Stand Up — Bob Marley', 'Them Belly Full — Bob Marley (chorus)'],
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tip: 'Get Up Stand Up is arguably ONE chord — the ♭VII is a passing breath, not a destination. Roots reggae treats harmony as a drone with occasional weather.',
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},
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{
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id: 'reggae-nwnc',
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name: 'Roots ballad (I–V⁶–vi–IV)',
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rn: ['I', 'V⁶', 'vi', 'IV'],
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degrees: [0, 7, 9, 5],
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qualities: ['maj', 'maj', 'min', 'maj'],
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bars: [1, 1, 1, 1],
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mode: 'major',
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songs: ['No Woman, No Cry — Bob Marley'],
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tip: 'Major key despite the tears: the V carries its 3rd in the bass (G/B in C), walking the bassline down by step into the vi. The descent is the emotion.',
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},
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{
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id: 'reggae-rocksteady',
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name: 'Rocksteady climb (I–ii–iii–ii)',
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rn: ['I', 'ii', 'iii', 'ii'],
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degrees: [0, 2, 4, 2],
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qualities: ['maj', 'min', 'min', 'min'],
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bars: [1, 1, 1, 1],
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mode: 'major',
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songs: ['Queen Majesty — The Techniques (1967)'],
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tip: 'Rocksteady grew from doo-wop covers, and it shows: a gentle diatonic staircase up and back at ~86 BPM. Soul harmony with the bass carrying the tune.',
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},
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]
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