kb: add blues guitar pack

5 forms (standard/quick-change 12-bar, 8-bar, minor blues, turnaround
cycle) x 2 plays each: barre shuffle, Texas 9th stabs, Chicago tritone
shells, minor m7 + 7#9 climax. 4 named comping patterns, improv rules,
2 sourced licks. Validator and build green.

Co-Authored-By: Claude Fable 5 <noreply@anthropic.com>

docs/kb-backlog.md

@@ -13,7 +13,7 @@ The queue for the `/kb-expand` loop. One cell per session, top-to-bottom. Protoc
 | # | Style | Status |
 |---|---|---|
 | 1 | Jazz (part of bootstrap) | done (2026-06-12, 5 progressions × 2 plays, validator ✓) |
-| 2 | Blues | todo |
+| 2 | Blues | done (2026-06-12, 5 progressions × 2 plays, validator ✓) |
 | 3 | Rock | todo |
 | 4 | Bossa Nova | todo |
 | 5 | Funk | todo |

src/data/kb/blues/guitar.js

@@ -0,0 +1,233 @@
+// Blues guitar pack. Shapes verified by note-spelling against: guitarworld.com
+// (13th chords, Jimmy Reed rhythm), fundamental-changes.com (SRV/Freddie King 9ths,
+// turnarounds), truefire.com (Texas comping, chord-tone targeting), jazzguitar.be
+// (tritone shells), guitarplayer.com (B.B. box, turnarounds).
+
+// Big barre grips — full-band downbeat hits.
+const E_BARRE7 = { rootStr: 6, offsets: [0, 2, 0, 1, 0, 0], fingers: [1, 3, 1, 2, 1, 1] }       // R-5-♭7-3-5-R
+const A_BARRE7 = { rootStr: 5, offsets: ['x', 0, 2, 0, 2, 0], fingers: [0, 1, 3, 1, 4, 1] }     // R-5-♭7-3-5
+const MIN7_BARRE_6 = { rootStr: 6, offsets: [0, 2, 0, 0, 0, 0], fingers: [1, 3, 1, 1, 1, 1] }   // Em-shape m7
+const MIN7_BARRE_5 = { rootStr: 5, offsets: ['x', 0, 2, 0, 1, 0], fingers: [0, 1, 3, 1, 2, 1] } // Am-shape m7
+
+// The blues colour chords — root on the A string.
+const NINTH = { rootStr: 5, offsets: ['x', 0, -1, 0, 0, 0], fingers: [0, 2, 1, 3, 3, 3] }       // R-3-♭7-9-5
+const THIRTEEN = { rootStr: 5, offsets: ['x', 0, -1, 0, 0, 2], fingers: [0, 2, 1, 3, 3, 4] }    // R-3-♭7-9-13
+const THIRTEEN_6 = { rootStr: 6, offsets: [0, 'x', 0, 1, 2, 'x'], fingers: [1, 0, 2, 3, 4, 0] } // R-♭7-3-13 (T-Bone register)
+const HENDRIX = { rootStr: 5, offsets: ['x', 0, -1, 0, 1, 'x'], fingers: [0, 2, 1, 3, 4, 0] }   // 7#9 — ♭3 vs 3 in one grip
+
+// Two-note-tritone shells — the Chicago comping grips.
+const SHELL7_6 = { rootStr: 6, offsets: [0, 'x', 0, 1, 'x', 'x'], fingers: [1, 0, 2, 3, 0, 0] } // R-♭7-3
+const SHELL7_5 = { rootStr: 5, offsets: ['x', 0, 'x', 0, 2, 'x'], fingers: [0, 1, 0, 2, 4, 0] } // R-♭7-3
+const SHELL_M7_5 = { rootStr: 5, offsets: ['x', 0, -2, 0, 'x', 'x'], fingers: [0, 3, 1, 4, 0, 0] } // R-♭3-♭7
+
+export default {
+  styleIntro:
+    'Blues rhythm guitar is a drum kit with pitch: the shuffle is the job, the chord is the decoration. Pick a lane — low boogie locked with the bass, or high 9th-chord stabs answering the vocal — and never both at once.',
+
+  comping: [
+    {
+      label: 'Jimmy Reed boogie shuffle',
+      rhythm: 'swung 8ths: R+5 / R+6 alternating',
+      description: 'Two-note dyads on the bottom strings, alternating the 5th and 6th above the root in swung eighths; move the same cell to the IV and V strings. Low register, dense — doubles the bass. The "second guitar" role Reed pioneered.',
+    },
+    {
+      label: '9th-chord stabs (Texas / SRV)',
+      rhythm: 'staccato hits, slide in from a half-step below',
+      description: 'Short muted stabs of the 9th grip, approached from one fret under (B♭9→B9). Mid-high register, sparse — leaves the low end to the bass. The Freddie King "Hide Away" sound.',
+    },
+    {
+      label: 'Slow blues 12/8',
+      rhythm: 'rolled chords on a triplet grid',
+      description: 'At ~60 BPM everything subdivides into triplets: arpeggiated 9ths, the 6↔9 rock on the top strings, fills answering the vocal. Density drops; space is the instrument.',
+    },
+    {
+      label: 'Stormy Monday walk-up',
+      rhythm: 'one chord per walking step, bars 7–8',
+      description: 'Diatonic chord climb I7→ii7→iii7 then chromatic back down — a bassline played as chords. Canonical on the Allman Brothers\' At Fillmore East.',
+    },
+  ],
+
+  plays: {
+    'blues-12bar': [
+      {
+        label: 'Barre-chord shuffle',
+        level: 'intermediate',
+        chords: [
+          { shape: E_BARRE7, note: 'I7 — root on the 6th string' },
+          { shape: E_BARRE7, note: '' }, { shape: E_BARRE7, note: '' }, { shape: E_BARRE7, note: '' },
+          { shape: A_BARRE7, note: 'IV7 — same fret, root string up' },
+          { shape: A_BARRE7, note: '' },
+          { shape: E_BARRE7, note: '' }, { shape: E_BARRE7, note: '' },
+          { shape: A_BARRE7, note: 'V7 — two frets above the IV grip' },
+          { shape: A_BARRE7, note: 'IV7' },
+          { shape: E_BARRE7, note: '' },
+          { shape: A_BARRE7, note: 'V7 — push into the next chorus' },
+        ],
+        tips: 'I, IV and V all live within two frets: 6th-string root, then 5th-string root at the same fret (IV) and two up (V). Strum short — the shuffle lives in the damping hand.',
+      },
+      {
+        label: '9th-chord stabs (Texas)',
+        level: 'intermediate',
+        chords: [
+          { shape: NINTH, extensions: ['9'], note: 'slide in from one fret below' },
+          { shape: NINTH, extensions: ['9'], note: '' }, { shape: NINTH, extensions: ['9'], note: '' }, { shape: NINTH, extensions: ['9'], note: '' },
+          { shape: NINTH, extensions: ['9'], note: 'IV9' }, { shape: NINTH, extensions: ['9'], note: '' },
+          { shape: NINTH, extensions: ['9'], note: '' }, { shape: NINTH, extensions: ['9'], note: '' },
+          { shape: THIRTEEN, extensions: ['9', '13'], note: 'V13 — pinky reaches the 13' },
+          { shape: NINTH, extensions: ['9'], note: 'IV9' },
+          { shape: NINTH, extensions: ['9'], note: '' },
+          { shape: THIRTEEN, extensions: ['9', '13'], note: 'V13' },
+        ],
+        tips: 'Stab, mute, wait. The 13↔9 drop on the top string is a free melodic hook — comping that sounds like a horn section.',
+      },
+    ],
+
+    'blues-quickchange': [
+      {
+        label: 'Tritone shells (Chicago)',
+        level: 'intermediate',
+        chords: [
+          { shape: SHELL7_6, note: 'I7' },
+          { shape: SHELL7_5, note: 'quick IV — only the inner pair moves' },
+          { shape: SHELL7_6, note: '' }, { shape: SHELL7_6, note: '' },
+          { shape: SHELL7_5, note: '' }, { shape: SHELL7_5, note: '' },
+          { shape: SHELL7_6, note: '' }, { shape: SHELL7_6, note: '' },
+          { shape: SHELL7_5, note: 'V7' },
+          { shape: SHELL7_5, note: 'IV7' },
+          { shape: SHELL7_6, note: '' },
+          { shape: SHELL7_5, note: 'V7' },
+        ],
+        tips: 'Three strings, two of them the chord-defining tritone. Drop the I7\'s inner pair one fret and you\'re already playing the IV7\'s guide tones — the quick change costs one finger.',
+      },
+      {
+        label: 'Big barres, quick four',
+        level: 'intermediate',
+        chords: [
+          { shape: E_BARRE7, note: '' },
+          { shape: A_BARRE7, note: 'the quick change — bar 2' },
+          { shape: E_BARRE7, note: '' }, { shape: E_BARRE7, note: '' },
+          { shape: A_BARRE7, note: '' }, { shape: A_BARRE7, note: '' },
+          { shape: E_BARRE7, note: '' }, { shape: E_BARRE7, note: '' },
+          { shape: A_BARRE7, note: 'V7' },
+          { shape: A_BARRE7, note: 'IV7' },
+          { shape: E_BARRE7, note: '' },
+          { shape: A_BARRE7, note: 'V7' },
+        ],
+        tips: 'Accent bar 2 slightly — telegraphing the quick change keeps the whole jam from splitting between the two 12-bar variants.',
+      },
+    ],
+
+    'blues-8bar': [
+      {
+        label: 'Barres through the 8-bar form',
+        level: 'intermediate',
+        chords: [
+          { shape: E_BARRE7, note: 'I7' },
+          { shape: A_BARRE7, note: 'V7 already — count!' },
+          { shape: A_BARRE7, note: 'IV7' }, { shape: A_BARRE7, note: '' },
+          { shape: E_BARRE7, note: '' },
+          { shape: A_BARRE7, note: 'V7' },
+          { shape: E_BARRE7, note: '' },
+          { shape: A_BARRE7, note: 'V7 — turnaround' },
+        ],
+        tips: 'Half the length, twice the changes per chorus. Lock the form before decorating it.',
+      },
+      {
+        label: '9ths and 13ths, uptown',
+        level: 'intermediate',
+        chords: [
+          { shape: NINTH, extensions: ['9'], note: '' },
+          { shape: THIRTEEN, extensions: ['9', '13'], note: 'V13' },
+          { shape: NINTH, extensions: ['9'], note: 'IV9' }, { shape: NINTH, extensions: ['9'], note: '' },
+          { shape: NINTH, extensions: ['9'], note: '' },
+          { shape: THIRTEEN, extensions: ['9', '13'], note: '' },
+          { shape: NINTH, extensions: ['9'], note: '' },
+          { shape: THIRTEEN, extensions: ['9', '13'], note: '' },
+        ],
+        tips: 'The Key-to-the-Highway feel is gentle — roll the chords instead of stabbing them, triplet feel even at medium tempo.',
+      },
+    ],
+
+    'blues-minor': [
+      {
+        label: 'm7 barres with the ♯9 climax',
+        level: 'intermediate',
+        chords: [
+          { shape: MIN7_BARRE_6, note: 'i7' },
+          { shape: MIN7_BARRE_6, note: '' }, { shape: MIN7_BARRE_6, note: '' }, { shape: MIN7_BARRE_6, note: '' },
+          { shape: MIN7_BARRE_5, note: 'iv7' }, { shape: MIN7_BARRE_5, note: '' },
+          { shape: MIN7_BARRE_6, note: '' }, { shape: MIN7_BARRE_6, note: '' },
+          { shape: A_BARRE7, note: '♭VI7 — the drama bar' },
+          { shape: HENDRIX, extensions: ['#9'], note: 'V7♯9 — the slow-blues scream' },
+          { shape: MIN7_BARRE_6, note: '' }, { shape: MIN7_BARRE_6, note: '' },
+        ],
+        tips: 'Save your dynamics for bars 9–10: the ♭VI7→V7♯9 half-step drop is the whole emotional payload of the form. Everything before it is patience.',
+      },
+      {
+        label: 'Upper-register minor comping',
+        level: 'intermediate',
+        chords: [
+          { shape: MIN7_BARRE_5, note: 'i7 — A-string root, above the bass' },
+          { shape: MIN7_BARRE_5, note: '' }, { shape: MIN7_BARRE_5, note: '' }, { shape: MIN7_BARRE_5, note: '' },
+          { shape: SHELL_M7_5, note: 'iv7 — thin out, the singer is working' },
+          { shape: SHELL_M7_5, note: '' },
+          { shape: MIN7_BARRE_5, note: '' }, { shape: MIN7_BARRE_5, note: '' },
+          { shape: THIRTEEN_6, extensions: ['13'], note: '♭VI13' },
+          { shape: NINTH, extensions: ['9'], note: 'V9' },
+          { shape: MIN7_BARRE_5, note: '' }, { shape: SHELL_M7_5, note: 'fade to the turnaround' },
+        ],
+        tips: 'Minor blues is usually slow — 12/8 triplet grid, rolled chords, and at least one full bar per chorus where you play nothing at all.',
+      },
+    ],
+
+    'blues-turnaround': [
+      {
+        label: 'Shell cycle',
+        level: 'intermediate',
+        chords: [
+          { shape: SHELL7_6, note: 'I7' },
+          { shape: SHELL7_5, note: 'VI7' },
+          { shape: SHELL_M7_5, note: 'ii7' },
+          { shape: SHELL7_6, note: 'V7' },
+        ],
+        tips: 'Often two beats per chord, not a bar — practise it at both speeds. The roots fall in fifths from the VI on, so the grips alternate strings on their own.',
+      },
+      {
+        label: 'Uptown 9ths (T-Bone)',
+        level: 'intermediate',
+        chords: [
+          { shape: NINTH, extensions: ['9'], note: 'I9' },
+          { shape: NINTH, extensions: ['9'], note: 'VI9' },
+          { shape: MIN7_BARRE_5, note: 'ii7' },
+          { shape: THIRTEEN, extensions: ['9', '13'], note: 'V13 — hold, then slide down a fret into the next chorus' },
+        ],
+        tips: 'This is the Stormy Monday sound: every dominant becomes a 9th or 13th, approached chromatically. Roll them lazily on the triplet grid.',
+      },
+    ],
+  },
+
+  improv: {
+    scales: [
+      { over: 'I7', scale: 'mixolydian', why: 'Major pentatonic and Mixolydian shine over the I — the sweet B.B. King side of the coin.' },
+      { over: 'IV7', scale: 'mixolydian', why: 'Switch to minor pentatonic (or think the IV\'s own Mixolydian) when the IV arrives — the key\'s major 3rd clashes with its ♭7.' },
+      { over: 'V7', scale: 'mixolydian', why: 'Each chord gets its own Mixolydian; adjacent ones differ by one note, so really it\'s "follow the chord tones."' },
+      { over: 'i7 (minor blues)', scale: 'minor', why: 'Minor pentatonic + the natural 6 over the iv; harmonic minor colour over the V7.' },
+    ],
+    targetNotes:
+      'The 3rd of the current chord at every change is the whole game; hit the ♭7 of the I in bar 4 to announce the IV. The blues curl — a quarter-step bend of the ♭3 toward the major 3 — is the signature ornament.',
+    licks: [
+      {
+        over: 'blues-12bar',
+        description: 'Classic descending turnaround in E (Robert Johnson "Kind Hearted Woman" lineage): ♭7–6–♭6–5 under a high-E pedal, swung triplets, resolving to B7.',
+        tab: 'e|--0---0---0---0--------2--\nB|--3---2---1---0--------0--\nG|-----------------------2--\nD|-----------------------1--\nA|-----------------------2--\nE|--------------------------\n    D   C#  C   B   →  B7',
+        source: 'GuitarPlayer "Blues Turnarounds Pt 1"; Fundamental Changes "Blues Turnarounds for Guitar"',
+      },
+      {
+        over: 'blues-12bar',
+        description: 'B.B. King box lick in C: major-pentatonic box around frets 8–10 with the signature 2→3 whole-step bend (D bent to E, the 3rd of C7).',
+        tab: 'e|--8--10b12--10--8---------------\nB|------------------10--8---------\nG|------------------------9-------\n    C   D→E    D   C   A   G   E',
+        source: 'GuitarPlayer "12 Killer Blues Licks"; Guitar World (B.B. box, R-2-4-5-6)',
+      },
+    ],
+  },
+}

src/data/kb/blues/meta.js

@@ -0,0 +1,7 @@
+export default {
+  id: 'blues',
+  label: 'Blues',
+  feel: 'shuffle',
+  tempoRange: [60, 180],
+  character: 'Dominant 7ths on every chord, swung eighths or 12/8 triplets, and the ♭3-against-3 tension that makes it talk — form is sacred, everything else is conversation.',
+}

src/data/kb/blues/progressions.js

@@ -0,0 +1,57 @@
+export default [
+  {
+    id: 'blues-12bar',
+    name: 'Standard 12-bar',
+    rn: ['I7', 'I7', 'I7', 'I7', 'IV7', 'IV7', 'I7', 'I7', 'V7', 'IV7', 'I7', 'V7'],
+    degrees: [0, 0, 0, 0, 5, 5, 0, 0, 7, 5, 0, 7],
+    qualities: ['dom7', 'dom7', 'dom7', 'dom7', 'dom7', 'dom7', 'dom7', 'dom7', 'dom7', 'dom7', 'dom7', 'dom7'],
+    bars: [1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1],
+    mode: 'major',
+    songs: ['Sweet Home Chicago', 'Pride and Joy — Stevie Ray Vaughan', 'Johnny B. Goode — Chuck Berry'],
+    tip: 'Bar 12 is the V7 launching the next chorus — never let it resolve flat. The form is a wheel, and bar 12 is where you push it.',
+  },
+  {
+    id: 'blues-quickchange',
+    name: 'Quick-change 12-bar',
+    rn: ['I7', 'IV7', 'I7', 'I7', 'IV7', 'IV7', 'I7', 'I7', 'V7', 'IV7', 'I7', 'V7'],
+    degrees: [0, 5, 0, 0, 5, 5, 0, 0, 7, 5, 0, 7],
+    qualities: ['dom7', 'dom7', 'dom7', 'dom7', 'dom7', 'dom7', 'dom7', 'dom7', 'dom7', 'dom7', 'dom7', 'dom7'],
+    bars: [1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1],
+    mode: 'major',
+    songs: ['Dust My Broom — Elmore James', 'Hide Away — Freddie King', 'Crossroads — Cream'],
+    tip: 'One bar of IV in bar 2, then home. Listen for it in the first seconds of a jam — guessing wrong here is the most common train wreck in blues.',
+  },
+  {
+    id: 'blues-8bar',
+    name: '8-bar blues',
+    rn: ['I7', 'V7', 'IV7', 'IV7', 'I7', 'V7', 'I7', 'V7'],
+    degrees: [0, 7, 5, 5, 0, 7, 0, 7],
+    qualities: ['dom7', 'dom7', 'dom7', 'dom7', 'dom7', 'dom7', 'dom7', 'dom7'],
+    bars: [1, 1, 1, 1, 1, 1, 1, 1],
+    mode: 'major',
+    songs: ['Key to the Highway — Big Bill Broonzy', 'It Hurts Me Too — Elmore James'],
+    tip: 'The V arrives in bar 2 — much sooner than a 12-bar. Count the form out loud the first chorus; 8-bar tunes wrong-foot 12-bar reflexes.',
+  },
+  {
+    id: 'blues-minor',
+    name: 'Minor blues',
+    rn: ['i7', 'i7', 'i7', 'i7', 'iv7', 'iv7', 'i7', 'i7', '♭VI7', 'V7', 'i7', 'i7'],
+    degrees: [0, 0, 0, 0, 5, 5, 0, 0, 8, 7, 0, 0],
+    qualities: ['min7', 'min7', 'min7', 'min7', 'min7', 'min7', 'min7', 'min7', 'dom7', 'dom7', 'min7', 'min7'],
+    bars: [1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1, 1],
+    mode: 'minor',
+    songs: ['The Thrill Is Gone — B.B. King', 'As the Years Go Passing By — Albert King'],
+    tip: 'Bars 9–10 are the whole drama: ♭VI sliding down a half-step to V7. (B.B.\'s recording makes the ♭VI a maj7 — try both colours.)',
+  },
+  {
+    id: 'blues-turnaround',
+    name: 'Turnaround cycle (I–VI–ii–V)',
+    rn: ['I7', 'VI7', 'ii7', 'V7'],
+    degrees: [0, 9, 2, 7],
+    qualities: ['dom7', 'dom7', 'min7', 'dom7'],
+    bars: [1, 1, 1, 1],
+    mode: 'major',
+    songs: ['Call It Stormy Monday — T-Bone Walker (intro)', 'jazz-blues bars 11–12 everywhere'],
+    tip: 'The jazz handshake inside the blues — often squeezed into two bars (two beats per chord). Loop it as a vamp and you\'ve learned bars 11–12 of every uptown blues.',
+  },
+]

src/data/kb/index.js

@@ -3,6 +3,9 @@
 import jazzMeta from './jazz/meta.js'
 import jazzProgressions from './jazz/progressions.js'
 import jazzGuitar from './jazz/guitar.js'
+import bluesMeta from './blues/meta.js'
+import bluesProgressions from './blues/progressions.js'
+import bluesGuitar from './blues/guitar.js'
 
 export default {
   jazz: {
@@ -10,4 +13,9 @@ export default {
     progressions: jazzProgressions,
     instruments: { guitar: jazzGuitar },
   },
+  blues: {
+    meta: bluesMeta,
+    progressions: bluesProgressions,
+    instruments: { guitar: bluesGuitar },
+  },
 }