Update to Music Block

Changed files

.codex-plugin/plugin.json →

skills/ensemble-arranging/SKILL.md →

skills/ensemble-arranging/agents/openai.yaml →

skills/ensemble-arranging/references/choir.md →

skills/ensemble-arranging/references/folk.md →

skills/ensemble-arranging/references/jazz-horns.md →

skills/ensemble-arranging/references/rhythm-section-bands.md →

skills/ensemble-arranging/references/string-quartet.md →

skills/human-melodic-phrasing/SKILL.md →

skills/human-melodic-phrasing/agents/openai.yaml →

skills/human-melodic-phrasing/references/bebop.md →

skills/human-melodic-phrasing/references/blues.md →

skills/human-melodic-phrasing/references/pop.md →

skills/instrument-ranges-and-idioms/SKILL.md →

skills/instrument-ranges-and-idioms/agents/openai.yaml →

skills/instrument-ranges-and-idioms/references/brass.md →

skills/instrument-ranges-and-idioms/references/drums.md →

skills/instrument-ranges-and-idioms/references/piano.md →

skills/instrument-ranges-and-idioms/references/strings.md →

skills/instrument-ranges-and-idioms/references/voices.md →

skills/instrument-ranges-and-idioms/references/winds.md →

skills/playable-fretted-parts/SKILL.md →

skills/playable-fretted-parts/agents/openai.yaml →

skills/playable-fretted-parts/SKILL.md

--- before
+++ after
@@ -0,0 +1,116 @@
+---
+name: playable-fretted-parts
+description: Write guitar, electric guitar, bass and ukulele parts (string/fret "bars" for Music Block) that a human can actually finger at the stated tempo. Use before composing any fretted lick, riff, exercise, bass line or chord voicing, and when fixing a playability warning.
+---
+
+Use this skill whenever a Music Block example contains a part written as `bars`
+(string + fret per note) for guitar, electric-guitar, bass or ukulele. The
+tool only rejects impossible input (two notes on one string, a string that does
+not exist) and warns about chords wider than five frets. Everything below is
+what the validator cannot judge and what separates real TAB from random
+string/fret pairs.
+
+## Workflow
+
+1. Pick the position first. A position is the fret under the index finger.
+   The hand covers that fret plus the next three (one finger per fret) and
+   any open string. Write the whole phrase inside that window before
+   considering a shift.
+2. Choose strings for the line, not just pitches. Every pitch exists in
+   several places; put a fast run on two or three adjacent strings inside the
+   position rather than walking up one string.
+3. Place shifts deliberately: on a slide, on an open string, on a long note,
+   or at a rest. Never shift in the middle of a run of eighths or sixteenths.
+4. Add technique markings where a player would use them (below). They are
+   the main way to make a line sound human, because the format has no
+   dynamics or articulation.
+5. Before calling the tool, run the self-check at the end of this file.
+
+## Left hand: positions and stretches
+
+- One finger per fret. Inside a beat, fretted notes span at most 4 frets
+  (open strings do not count). Across a phrase without a shift, at most 5.
+- Above fret 12 the frets are closer; a span of 5 to 6 is fine there. Below
+  fret 5 the frets are wide; keep spans to 4.
+- A stretch of one extra fret with the pinky is fine for a single note, not
+  for a repeated figure.
+- Consecutive beats that jump more than 5 frets need a slide, a rest, or an
+  open string between them. If none fits, refinger the second note on
+  another string in the current position.
+- Do not mirror keyboard thinking: a guitar run that changes string on every
+  note is awkward. Group two to four notes per string.
+
+## Tempo limits
+
+| Tempo | Sixteenths | Eighths | Position shifts |
+| --- | --- | --- | --- |
+| up to 90 BPM | anywhere inside the position | free | on any beat boundary |
+| 90 to 140 BPM | adjacent frets and adjacent strings only | free inside the position | at most one per bar, on a slide or long note |
+| above 140 BPM | short bursts of 4 or fewer, on one string with hammer or pull | inside the position, at most two string changes per beat | none mid-phrase |
+
+Triplet eighths count as eighths; sextuplets count as sixteenths.
+
+## Technique markings
+
+- `hammer` and `pull` connect this beat to the next beat on the SAME string,
+  1 to 3 frets apart. Hammer goes up in pitch, pull goes down. Never mark a
+  hammer or pull into a note on a different string or the last beat of the
+  example.
+- `slide` connects to the next beat on the same string. Keep slides to 5
+  frets or less in fast passages; long slides only into a held note.
+- `bend-half` and `bend-full` belong on strings 1 to 3 at fret 5 or higher.
+  Bending a wound string (4 to 6) or a low fret is possible but rare; avoid it
+  unless the user asks. A full bend needs the note below the target: write the
+  fret of the starting pitch, the bend supplies the rest.
+- `vibrato` on notes of a quarter or longer, especially phrase endings and
+  bend peaks.
+- `palm-mute` on low-string riff notes, typically eighths on strings 5 and 6.
+- `let-ring` on arpeggiated chord tones on different strings.
+- A single lick usually carries two to four markings, not one per note.
+
+## Chord voicings
+
+- At most 4 fretted notes in a shape unless one fret is a barre (two or more
+  notes on the same fret with nothing lower). A barre covers all higher
+  strings at that fret, so an open string cannot sit between barred strings.
+- Fretted notes in a shape span at most 4 frets below fret 5, 5 frets higher
+  up. The tool warns above 5.
+- Every note in a chord is on a distinct string. Prefer common shapes: open
+  chords, E and A shape barres, drop-2 and drop-3 voicings on strings 1 to 4
+  or 2 to 5, shell voicings (root, 3rd, 7th) for jazz comping.
+- Comping under a lick: 3 or 4 note voicings on the middle strings, not
+  6-string barres on every beat.
+- Chord notes played together must be reachable at the same time; do not
+  combine a note at fret 2 on string 6 with fret 8 on string 1.
+
+## Bass
+
+- Same one-finger-per-fret rule over 4 frets; many players use a 3-fret
+  span below fret 5. Open strings are the usual shift point.
+- Walking bass: quarter notes, roots or fifths on beats 1 and 3, chord tones
+  or chromatic approach notes on beats 2 and 4, at most one leap per bar.
+- Sixteenth-note bass lines stay on one or two strings and repeat a pattern.
+- Bass lines rarely go above fret 12 or use chords; keep the register in
+  frets 0 to 9 unless the user wants a solo.
+
+## Ukulele
+
+- Standard tuning is re-entrant: string 4 (G4) is higher than string 3 (C4).
+  Melodies live on strings 1 and 2, sometimes 3. Do not write a "low" bass
+  note on string 4.
+- Position window is 4 frets; chords use all four strings; no bends.
+
+## Self-check before calling the tool
+
+- Each phrase sits inside one 4-fret window (plus open strings) or shifts at
+  a slide, open string, long note or rest.
+- No beat-to-beat jump larger than 5 frets without one of those.
+- Sixteenths obey the tempo table.
+- Every hammer, pull and slide has a following note on the same string.
+- Bends are on strings 1 to 3 at fret 5 or above.
+- Chord shapes have at most 4 fretted notes or a barre, span 4 to 5 frets,
+  and contain no open string between barred strings.
+- Bass and ukulele parts follow their sections.
+
+If the tool returns a playability warning, treat it as a bug in the example
+and re-voice the beat rather than explaining the warning to the user.