kb: add rock guitar pack; schema gains declared omit3 (power chords)
5 progressions (Mixolydian vamp, I-IV-V, minor descent, axis, Dorian riff cell) x 2 plays: open-chord Malcolm hits, second-guitar triads, Keith sus figure, power-chord chug, Police add9 arpeggios, thumb-over embellishments. omit3 is a declared omission like rootless - the pitch-class check still applies. Validator and build green. Co-Authored-By: Claude Fable 5 <noreply@anthropic.com>
This commit is contained in:
vadimwit
+1
-1
@@ -14,7 +14,7 @@ The queue for the `/kb-expand` loop. One cell per session, top-to-bottom. Protoc
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| 1 | Jazz (part of bootstrap) | done (2026-06-12, 5 progressions × 2 plays, validator ✓) |
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| 2 | Blues | done (2026-06-12, 5 progressions × 2 plays, validator ✓) |
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| 3 | Rock | todo |
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| 3 | Rock | done (2026-06-12, 5 progressions × 2 plays, validator ✓) |
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| 4 | Bossa Nova | todo |
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| 5 | Funk | todo |
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| 6 | Reggae | todo |
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@@ -72,7 +72,10 @@ function checkGuitarShape(where, chordStep, quality) {
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})
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for (const pc of sounded)
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if (!allowed.has(pc)) return err(where, `sounded pc ${pc} is not in ${quality} (+ext) — shape misspells the chord`)
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const required = iv.filter(i => i !== PERFECT_FIFTH && !(chordStep.rootless && i === 0))
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const required = iv.filter(i =>
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i !== PERFECT_FIFTH
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&& !(chordStep.rootless && i === 0)
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&& !(chordStep.omit3 && (i === 3 || i === 4)))
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for (const pc of required)
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if (!sounded.has(pc)) return err(where, `defining tone pc ${pc} of ${quality} missing from shape`)
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}
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@@ -85,6 +85,9 @@ export default {
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// open shapes instead use: frets: [...absolute], onlyRoot: <pc 0-11>
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},
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extensions: ['9'], // declared color tones beyond the quality (validator allows only these)
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// declared omissions (honest data, surfaced by the UI):
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// rootless: true — shape omits the root (e.g. guide-tone grips)
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// omit3: true — shape omits the 3rd (e.g. power chords; works over major or minor)
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note: 'root–♭7–♭3',
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},
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// …
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@@ -6,6 +6,9 @@ import jazzGuitar from './jazz/guitar.js'
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import bluesMeta from './blues/meta.js'
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import bluesProgressions from './blues/progressions.js'
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import bluesGuitar from './blues/guitar.js'
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import rockMeta from './rock/meta.js'
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import rockProgressions from './rock/progressions.js'
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import rockGuitar from './rock/guitar.js'
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export default {
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jazz: {
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@@ -18,4 +21,9 @@ export default {
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progressions: bluesProgressions,
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instruments: { guitar: bluesGuitar },
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},
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rock: {
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meta: rockMeta,
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progressions: rockProgressions,
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instruments: { guitar: rockGuitar },
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},
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}
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@@ -0,0 +1,212 @@
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// Rock guitar pack. Shapes verified by note-spelling against: guitarplayer.com
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// (Malcolm Young, Hendrix rhythm rules), musicradar.com (Keith Richards grips,
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// Andy Summers add9), appliedguitartheory.com (triads on string sets),
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// fundamental-changes.com (open-G translations), justinguitar.com (unison bends).
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// Power chords — the rock engine room. omit3: works over major or minor.
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const P5R_6 = { rootStr: 6, offsets: [0, 2, 2, 'x', 'x', 'x'], fingers: [1, 3, 4, 0, 0, 0] } // R-5-R
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const P5R_5 = { rootStr: 5, offsets: ['x', 0, 2, 2, 'x', 'x'], fingers: [0, 1, 3, 4, 0, 0] }
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// Full barres.
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const E_BARRE_MAJ = { rootStr: 6, offsets: [0, 2, 2, 1, 0, 0], fingers: [1, 3, 4, 2, 1, 1] }
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const A_BARRE_MAJ = { rootStr: 5, offsets: ['x', 0, 2, 2, 2, 0], fingers: [0, 1, 2, 3, 4, 1] }
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const E_BARRE_MIN = { rootStr: 6, offsets: [0, 2, 2, 0, 0, 0], fingers: [1, 3, 4, 1, 1, 1] }
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// Open-position big chords (Malcolm Young) — render only when the chord root matches.
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const OPEN_A = { onlyRoot: 9, frets: ['x', 0, 2, 2, 2, 0], fingers: [0, 0, 1, 2, 3, 0] }
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const OPEN_G = { onlyRoot: 7, frets: [3, 2, 0, 0, 0, 3], fingers: [2, 1, 0, 0, 0, 3] }
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const OPEN_D = { onlyRoot: 2, frets: ['x', 'x', 0, 2, 3, 2], fingers: [0, 0, 0, 1, 3, 2] }
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// Triads on the top string sets — the second-guitar register.
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const TRIAD_GBE_MAJ = { rootStr: 3, offsets: ['x', 'x', 'x', 0, 0, -2], fingers: [0, 0, 0, 3, 4, 1] } // R-3-5
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const TRIAD_GBE_MAJ_INV1 = { rootStr: 1, offsets: ['x', 'x', 'x', 1, 0, 0], fingers: [0, 0, 0, 2, 1, 1] } // 3-5-R
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const TRIAD_GBE_MIN_INV1 = { rootStr: 1, offsets: ['x', 'x', 'x', 0, 0, 0], fingers: [0, 0, 0, 1, 1, 1] } // ♭3-5-R barre
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const TRIAD_DGB_MAJ = { rootStr: 4, offsets: ['x', 'x', 0, -1, -2, 'x'], fingers: [0, 0, 3, 2, 1, 0] } // R-3-5
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const TRIAD_DGB_MIN = { rootStr: 4, offsets: ['x', 'x', 0, -2, -2, 'x'], fingers: [0, 0, 3, 1, 1, 0] } // R-♭3-5
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// Hendrix/Frusciante thumb-over E-shape — A string muted, fingers free to embellish.
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const THUMB_E = { rootStr: 6, offsets: [0, 'x', 2, 1, 0, 0], fingers: [0, 0, 3, 2, 1, 1] }
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// Police-style add9 stretches (clean arpeggio picking).
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const ADD9_ARP = { rootStr: 6, offsets: [0, 'x', 2, 1, 0, 2], fingers: [1, 0, 3, 2, 1, 4] } // R-R-3-5-9
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const MADD9_ARP = { rootStr: 6, offsets: [0, 'x', 2, 0, 0, 2], fingers: [1, 0, 3, 1, 1, 4] } // R-R-♭3-5-9
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export default {
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styleIntro:
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'Rock rhythm guitar is arrangement: the same chords played as muted chugs, open-string detonations, or high triad shimmer depending on the section. With two guitars, split the register — one low and thick, one high and thin — and never share an octave.',
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comping: [
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{
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label: 'Straight-8ths downstroke drive',
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rhythm: '♪♪♪♪♪♪♪♪ all downstrokes',
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description: 'Relentless eighth-note downpicks on power chords, slight palm mute, no gaps — the punk/Ramones engine. Only works if the other guitar stays sparse or high.',
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},
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{
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label: 'Malcolm Young space',
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rhythm: 'accent hits + deliberate rests',
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description: 'Big open-position chords hit hard with silence between — the rests ARE the hook. Low gain, all downstrokes, let the band breathe.',
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},
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{
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label: 'Palm-muted chug with pushes',
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rhythm: 'muted 8ths/16ths, lift on the and-of-4',
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description: 'Muted root chug; lift the palm for full-ring accents on anticipations. High note-density, low spectral density — leaves room above.',
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},
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{
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label: 'Keith Richards sus figure',
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rhythm: 'hammer sus4/6 on the offbeats',
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description: 'Hold the A-shape barre, hammer the sus4 (B string +1) and the 6th (top string +2) on the "ands", pull back to the triad. The Start Me Up / Brown Sugar move.',
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},
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{
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label: 'Clean add9 arpeggio picking',
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rhythm: 'steady picked 8ths, light mute',
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description: 'Hold the add9 stretch and pick through it string by string — the Every Breath You Take verse texture everyone else lays out under.',
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},
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],
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plays: {
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'rock-mixo-vamp': [
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{
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label: 'Big open chords (Malcolm)',
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level: 'intermediate',
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chords: [
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{ shape: OPEN_A, note: 'I — open A, all six strings of it' },
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{ shape: OPEN_G, note: '♭VII — open G' },
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{ shape: OPEN_D, note: 'IV — open D' },
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],
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tips: 'The open-chord version lives in the key of A (A–G–D). Hit hard, then shut up — the space between hits is the AC/DC trick. In other keys, use the barre or triad play.',
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},
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{
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label: 'Second-guitar triads, top strings',
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level: 'intermediate',
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chords: [
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{ shape: TRIAD_GBE_MAJ, note: 'I up high' },
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{ shape: TRIAD_GBE_MAJ_INV1, note: '♭VII — nearest inversion, no jump' },
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{ shape: TRIAD_GBE_MAJ, note: 'IV' },
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],
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tips: 'This is the guitar-2 part: triads above fret 5 while someone else owns the low end. Move to the nearest inversion, not the same shape up the neck.',
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},
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],
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'rock-145': [
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{
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label: 'Barres, straight-8ths drive',
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level: 'intermediate',
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chords: [
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{ shape: E_BARRE_MAJ, note: 'I — 6th-string root' },
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{ shape: A_BARRE_MAJ, note: 'IV — same fret, root string up' },
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{ shape: A_BARRE_MAJ, note: 'V — two frets up' },
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],
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tips: 'Same I/IV/V geometry as a blues: one position, two grips. Verse = palm-muted, chorus = open. The dynamic contrast is the part.',
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},
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{
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label: 'Keith sus figure on the IV and V',
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level: 'intermediate',
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chords: [
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{ shape: A_BARRE_MAJ, note: 'hammer the sus4 (B string +1) on the and-beats' },
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{ shape: A_BARRE_MAJ, note: 'same figure — sus4 and 6th (top string +2) trading' },
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{ shape: A_BARRE_MAJ, note: 'resolve the hammer INTO the change' },
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],
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tips: 'The grip stays still; two fingers do the talking. Swing the hammers slightly even over straight drums — that lag is the Stones feel.',
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},
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],
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'rock-minor-descent': [
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{
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label: 'Barres walking down the 6th string',
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level: 'intermediate',
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chords: [
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{ shape: E_BARRE_MIN, note: 'i' },
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{ shape: E_BARRE_MAJ, note: '♭VII — two frets down' },
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{ shape: E_BARRE_MAJ, note: '♭VI — two more' },
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{ shape: E_BARRE_MAJ, note: 'V — one more half-step, the borrowed pull home' },
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],
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tips: 'The whole progression is the low-E string walking down: root, -2, -4, -5 frets. Let the audience hear that bassline inside your chords.',
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},
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{
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label: 'High triads (Watchtower texture)',
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level: 'intermediate',
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chords: [
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{ shape: TRIAD_DGB_MIN, note: 'i — middle-string triad' },
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{ shape: TRIAD_DGB_MAJ, note: '♭VII' },
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{ shape: TRIAD_DGB_MAJ, note: '♭VI' },
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{ shape: TRIAD_DGB_MAJ, note: 'V' },
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],
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tips: 'Strum these as 16th-note skanks or let them ring — either way you\'re the texture, not the foundation. Classic when keys or a second guitar hold the low end.',
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},
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],
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'rock-axis': [
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{
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label: 'Power-chord chug',
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level: 'intermediate',
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chords: [
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{ shape: P5R_6, omit3: true, note: 'I' },
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{ shape: P5R_6, omit3: true, note: 'V' },
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{ shape: P5R_6, omit3: true, note: 'vi — same shape; the bass note carries the minor' },
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{ shape: P5R_5, omit3: true, note: 'IV — 5th-string root keeps you in position' },
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],
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tips: 'No 3rds anywhere — major and minor come from the root motion, which is why one shape plays the whole loop. Save the full barres for the last chorus.',
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},
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{
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label: 'Add9 arpeggio verse (Police)',
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level: 'intermediate',
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chords: [
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{ shape: ADD9_ARP, extensions: ['9'], note: 'pick through, low to high, let it ring' },
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{ shape: ADD9_ARP, extensions: ['9'], note: '' },
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{ shape: MADD9_ARP, extensions: ['9'], note: 'minor add9 — one finger lifts' },
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{ shape: ADD9_ARP, extensions: ['9'], note: '' },
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],
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tips: 'It\'s a stretch — practise the grip high on the neck first, then move down. Light palm mute, clean tone, metronomic 8ths: the part is a clock, not a riff.',
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},
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],
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'rock-riff-cell': [
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{
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label: 'Power chords (Smoke on the Water)',
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level: 'intermediate',
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chords: [
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{ shape: P5R_6, omit3: true, note: 'i' },
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{ shape: P5R_6, omit3: true, note: '♭III — three frets up, same shape' },
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{ shape: P5R_6, omit3: true, note: 'IV — two more' },
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],
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tips: 'Root–♭3–4 on one string is the riff; the power chords are it harmonised. The famous version is two-note 4ths on the middle strings — same cell.',
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},
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{
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label: 'Thumb-over with embellishments',
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level: 'intermediate',
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chords: [
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{ shape: E_BARRE_MIN, note: 'i' },
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{ shape: THUMB_E, note: '♭III — thumb takes the bass, hammer the sus4 (G string +1)' },
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{ shape: THUMB_E, note: 'IV — add the 9 with the pinky (top string +2)' },
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],
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tips: 'The Hendrix/Frusciante device: thumb frets the root, the freed fingers decorate inside the chord. The Dorian IV is where the colour lives — lean on it.',
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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: 'i / I', scale: 'minor', why: 'Minor pentatonic box 1 plus the ♭5 (blues scale) is the rock default over almost everything.' },
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{ over: 'I (country-rock)', scale: 'major', why: 'Major pentatonic for the Skynyrd/Allman sweetness — same box shape three frets down from the minor one.' },
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{ over: 'I–♭VII–IV', scale: 'mixolydian', why: 'Major pentatonic + the ♭7 and 4. The ♭7 of the key IS the root of the ♭VII chord — free target note.' },
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{ over: 'i–♭VII–♭VI', scale: 'minor', why: 'Natural minor (Aeolian): minor pentatonic + the 2 and ♭6 for the stepwise colour.' },
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{ over: 'i–♭III–IV', scale: 'dorian', why: 'The major IV asks for Dorian — minor pentatonic + the natural 6.' },
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],
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targetNotes:
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'Root and 5th are safe everywhere; the 3rd of the chord of the moment is the pro move. Double-stops are rock\'s vocabulary: Berry 4ths on the top two strings, unison bends, and the quarter-step blues curl on the ♭3.',
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licks: [
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{
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over: 'rock-145',
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description: 'Chuck Berry double-stop intro figure (Johnny B. Goode device, shown in A): one-finger barre on the top two strings, slid in from below, hammered in triplets.',
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tab: 'e|--5--5--5--5--5--5--5--5--5--5--5--5--\nB|3/5--5--5--5--5--5--5--5--5--5--5--5--\n (slide in; A on e + E on B = root+5th of A)',
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source: 'Chuck Berry, "Johnny B. Goode" (1958); JustinGuitar song lesson SB-425',
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},
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{
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over: 'rock-axis',
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description: 'Box-1 unison bend cliché: bend the B-string ♭7 a whole step up to the root against the same note held on the top string (Hendrix "Purple Haze" outro, Page, May).',
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tab: 'e|---5------5------5------5----\nB|--8b10---8b10---8b10---8b10--\n (G bent to A against the A on e-string 5)',
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source: 'JustinGuitar unison bend technique BL-607; Happy Bluesman unison bends',
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},
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],
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},
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}
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@@ -0,0 +1,7 @@
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export default {
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id: 'rock',
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label: 'Rock',
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feel: 'straight',
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tempoRange: [80, 180],
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character: 'Straight eighths, big chords, and arrangement-as-dynamics: the same progression whispered in the verse and detonated in the chorus.',
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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: 'rock-mixo-vamp',
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name: 'Mixolydian vamp (I–♭VII–IV)',
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rn: ['I', '♭VII', 'IV'],
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degrees: [0, 10, 5],
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qualities: ['maj', 'maj', 'maj'],
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bars: [2, 1, 1],
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mode: 'mixolydian',
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songs: ['Sweet Home Alabama — Lynyrd Skynyrd', 'Sympathy for the Devil — Rolling Stones'],
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tip: 'The ♭VII is the rock sound — borrowed flat-seven instead of the polite V. (Sweet Home Alabama famously also parses as V–IV–I; the band played it I-centred.)',
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},
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{
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id: 'rock-145',
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name: 'I–IV–V',
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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: ['Wild Thing — The Troggs', 'Twist and Shout — The Beatles', 'La Bamba'],
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tip: 'Three chords, no slack: the arrangement does the work. Decide per section how big each hit is — that decision is the song.',
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},
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{
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id: 'rock-minor-descent',
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name: 'Minor descent (i–♭VII–♭VI–V)',
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rn: ['i', '♭VII', '♭VI', 'V'],
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degrees: [0, 10, 8, 7],
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qualities: ['min', 'maj', 'maj', 'maj'],
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bars: [1, 1, 1, 1],
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mode: 'minor',
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songs: ['Hit the Road Jack — Ray Charles', 'Sultans of Swing — Dire Straits (chorus tail)', 'All Along the Watchtower (without the V)'],
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tip: 'A staircase to the V: the major V is borrowed from harmonic minor and is what yanks the loop home. Drop it and you get the floatier Watchtower version.',
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},
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{
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id: 'rock-axis',
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name: 'Axis (I–V–vi–IV)',
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rn: ['I', 'V', '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: ['With or Without You — U2', 'Let It Be — The Beatles'],
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tip: 'The same four chords carry a whisper or a stadium — rock\'s job is choosing which. Start the loop on the vi for the dark version.',
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},
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{
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id: 'rock-riff-cell',
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name: 'Riff cell (i–♭III–IV)',
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rn: ['i', '♭III', 'IV'],
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degrees: [0, 3, 5],
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qualities: ['min', 'maj', 'maj'],
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bars: [2, 1, 1],
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mode: 'dorian',
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songs: ['Smoke on the Water — Deep Purple', 'Iron Man — Black Sabbath (spine of the riff)'],
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tip: 'Root–♭3–4 is THE rock riff cell, lifted straight from minor pentatonic. The major IV makes it Dorian — the app\'s Dorian mode lights up exactly these notes.',
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},
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]
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