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Update to Music Block

Snapshot Oct 6, 2026 · 00:02 UTC · version 1.2.0

WHAT CHANGED · RULE-BASED ANALYSIS

Package or technical metadata updated

Package contents changed in 23 files: .codex-plugin/plugin.json, skills/ensemble-arranging/SKILL.md, skills/ensemble-arranging/agents/openai.yaml, …. Open the file diff to inspect the edits.

Observed in package metadata. These changes alone do not establish a new customer-facing feature.

Package file

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

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+# String quartet
+
+## Roles
+
+| Part | Default role | Alternatives |
+| --- | --- | --- |
+| violin ("Violin 1") | melody | unison with violin 2 for weight |
+| violin ("Violin 2") | harmony a third or sixth below, or counter-melody | repeated-eighth accompaniment with viola |
+| viola | inner voice, rhythmic figure, or countermelody | melody for a darker phrase |
+| cello | bass line, roots and fifths | melody in the tenor register (A3 to A4) with viola taking the bass |
+
+## Textures (change every four bars, not every bar)
+
+- **Chorale**: all four in the melody's rhythm, complete triads, cello on
+  roots.
+- **Melody with accompaniment**: violin 1 melody, violin 2 and viola in
+  repeated eighths on chord tones (broken or together), cello quarters on
+  roots and fifths.
+- **Imitation**: violin 1 states the motif, viola or cello repeats it one or
+  two bars later a fifth or an octave away while violin 1 holds.
+- **Unison or octaves**: all four on the melody for one phrase, for emphasis.
+- **Pedal**: cello holds an open string (C2, G2, D3, A3) while the upper
+  three move.
+
+## Part-writing rules (common-practice)
+
+- Complete triads on strong beats; when a voice must be omitted, drop the
+  5th. Double the root, in a first-inversion chord the soprano or bass.
+- Spacing: violin 1 to violin 2 and violin 2 to viola within an octave.
+  Viola to cello may exceed an octave.
+- No voice crossing and no overlap (a lower voice moving above where the
+  upper voice just was).
+- Inner voices move by step or hold common tones. Melody and bass prefer
+  contrary motion.
+- No parallel perfect fifths or octaves between any two parts. Parallel
+  thirds and sixths are the sound of the quartet.
+- Leading tone rises to the tonic; chordal 7ths fall by step; a 4-3
+  suspension resolves down on the next beat.
+- Cadences: V to I with the cello moving by fifth; a half cadence ends a
+  four-bar phrase on V; the melody ends a phrase on the 3rd or 5th, the
+  final one on the root.
+- Chord changes on strong beats; harmonic rhythm of one or two chords per
+  bar. Use the beat `chord` field for the second chord.
+
+## Registers and idiom
+
+- Cello below C3 alone; viola C3 to C5; violin 2 G3 to E5; violin 1 D4 to E6
+  for melody, higher only for a peak.
+- Fast passages stay on adjacent strings; a leap across strings needs a
+  longer note first.
+- Double stops on adjacent strings in thirds, sixths and octaves, held or
+  in quarters, never in fast sixteenths.
+- Not all four instruments change notes on the same beat for a whole
+  phrase; hold at least one voice through each bar.
+- Give one instrument a bar of rest every four to eight bars.
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