music-composition

Plugin music-composition from marketplace music-composition-skills in jtydhr88/music-composition-skills. Commands read from the repo's manifest — 12 days ago.

Skills (29)

• mc-ai-tell-audit

  The post-generation AI-tell audit (AI 味诊断). Run this on every generated track before accepting it. Covers the fourteen enumerable defaults that generative music models fall into, which of them are machine-measurable and which need ears, why compliance rate and AI-tell count are two separate numbers

• mc-arrangement-arch

  Arrangement architecture (编曲结构学) - the shape of a track over time rather than its notes. Energy curve and dramatic arc, subtractive arranging, layering as form (instrument entry/exit events), formal skeletons and section proportion, arrangement-hook placement, why the second verse must not be a copy

• mc-case-studies

  The corpus layer (语料层) - how real recordings are made to testify for or against the textbook rules. Covers the reverse ARR-SPEC as the unit of the corpus, the corroboration table that turns rules times corpus into hit rates and tiers them as strong rule / tendency / not a rule, the two honesty const

• mc-counterpoint

  Counterpoint and voice writing (对位与声部写作) - writing a second line that is genuinely independent rather than a harmony part. The four complementarity axes that make two lines combine (rhythmic density, interval colour, contrary/oblique/similar motion, staggered peaks), contrast between unlike versus l

• mc-development

  Thematic development (乐思发展层) - what the theme is and what each section does with it. Owns `material` (motif, character, stated_in) and `form[].development`, a closed set of ten operations (repeat/sequence/extend/contract/fragment/vary/augment/counterpoint/new/recap). Covers the line between developi

• mc-form

  Song form and section design (曲式与段落) - the terminology, the standard templates, and how to build a setsu backwards from the chorus. The Japanese section vocabulary mapped onto Anglo-American terms (and the two that are routinely mistranslated), the two broad families sorted by chorus position, the r

• mc-harmony

  Functional and colour harmony (和声：功能与色彩) - choosing chords for a melody and then upgrading them without over-cooking. The three functions and three cadence types, the measure-by-measure harmonization procedure, substitution rules, seventh chords, and the colour techniques (slash chords, secondary do

• mc-melody

  Melody writing (旋律法) - what a melodic line expresses and how to make it singable. Direction and interval width as expression, the hard limits on leaps and how to prepare and land them (windup, run-up, cushion, rebound), range setting against the human voice and the passaggio, long and short note val

• mc-mix-intent

  Mix intent as a handoff artifact (混音意图) - stating what a mix must achieve so a human engineer, a DAW, or a generative backend can all act on it, without prescribing EQ or compressor settings. The five domains (time, frequency, level, stereo, depth) and the imagined sound stage, the four goals (mood,

• mc-modulation

  Modulation (转调) - moving between keys and making the seam sound intended rather than accidental. Closely related versus distant keys, the cushion chord and its announcement ladder from smoothest to most impactful, degree thinking, the three tools that keep a modulation feeling unified, what each int

• mc-orchestration

  Orchestration (配器) at the decision level - which instruments carry which line, pure vs mixed timbre, blending (unison, octave coupling, separate registers), balance, technique's effect on blend, register-dependent character, MIDI orchestration, and Chinese folk orchestra scoring - four sections, pai

• mc-progressions

  Chord progression lookup library (和弦进行速查库) - the eight famous named progressions with their variants and what each one actually does, a mood reverse-lookup, the eight variation techniques that turn one standard progression into ten, and an explicit warning list of the progressions generative models

• mc-render-compile

  The compiler from ARR-SPEC to any generation backend (编译层). One compiler, many backends - the backend differences live in backends.yaml as data, never as separate skills. Covers the compile order, section-tag mapping, turning structured fields into prose style prompts without losing information, lyr

• mc-rhythm-groove

  Rhythm and groove as musical material (节奏与律动) - what a rhythm is before anyone plays it. Beat feel versus tempo as independent variables, the weight structure of the bar, syncopation and anticipation and the precondition both require, the three ingredients of groove, onbeat versus offbeat feel and b

• mc-rhythm-section

  Rhythm section arranging and MIDI programming (节奏组与打ち込み) - drums, bass and harmony instruments as one unit, and how to make programmed parts sound played. Includes a style-by-style drum pattern and tempo lookup (rock, funk, R&B, hip hop, jazz, blues, Afro-Cuban, Brazilian, country, metal, techno); k

• mc-sound-design

  Synth and timbre design as an arrangement decision (音色设计) - deciding what a sound must be before touching a knob. The four-question intent checklist (percussive or pitched / register / envelope shape / bright or dark) and its mapping to oscillator, tune, amp EG and filter; resetting to an unprocesse

• mc-style-chinese-pop

  Mandarin and Cantonese pop as a style layer (华语流行风格层). What is actually specific to Chinese-language pop rather than borrowed wholesale from J-pop and Anglo-American pop, the transfer table for what may and may not be carried in or out, the tone-melody constraint that shapes Mandarin and Cantonese m

• mc-style-cinematic

  Cinematic and hybrid orchestral music as a style layer (影视管弦与 hybrid 风格层) - the library's landing point for what "film grade" actually means. The three colour-configuration principles (pure-timbre layering, juxtaposition, and the mixed use of both), unison-that-is-not-unison and rhythmic heterophony

• mc-style-citypop-rnb

  City pop and R&B as a style layer (都会流行与 R&B 风格层) - the sound built on borrowed jazz harmony, a pushed bass, and deliberate space. The harmonic vocabulary that defines it and where it comes from, the rhythm-section signature of a bass ahead of the grid against drums on it, the instrumentation roster

• mc-style-edm

  EDM and club music as a style layer (电子舞曲风格层) - a form built on layer addition and subtraction rather than verses and choruses. Why club structure works on the floor and not at home, the long build and the drums-only section that exists for the DJ, layering as form when there is no melody to carry i

• mc-style-hiphop

  Hip-hop and trap as a style layer (嘻哈风格层); beat-first music where the producer is a programmer, not a drummer. Covers the third time-feel from Dilla Time (straight and swung at once) with usable numbers (rushed snare ~65 ms, per-voice swing, shift-timing ticks), the tempo bands for standard / slow /

• mc-style-jazz

  Jazz as a style layer (爵士风格层) - what is specific to jazz and what is merely general music theory wearing a jazz hat. Chord-scale theory and the avoid-note idea, melodic minor harmony and the interchangeability that makes altered dominants work, the diminished and whole-tone resources, comping and vo

• mc-style-jpop

  J-pop as a style layer (日式流行风格层) - the chorus-centred design discipline that distinguishes Japanese pop from Western pop. Why the sabi sounds like the sabi and the first-aid kit when it will not lift, the two maximization strategies (exposure and anticipation) and the boredom trade-off that governs

• mc-style-latin

  Latin as a style layer (拉丁风格层) - three families that must never be blended into one "Latin" setting; Afro-Cuban, Brazilian and Caribbean. The clave system as the grammar that decides son or rumba and 2-3 or 3-2, the division of labour between conga tumbao, bass tumbao, piano montuno and timbale casc

• mc-style-rock-band

  Rock and band-format music as a style layer (乐队编制风格层) - what changes when five people in a room have to play it. The band roster as a hard constraint, why rock opens with fewer instruments than any other style, power chords and the harmony rules that stop applying, and riff as the primary hook carri

• mc-symbolic-score

  Compiling ARR-SPEC into symbolic notation (符号乐谱输出) - ABC, MusicXML and MIDI from one emitter. Why the symbolic path matters (it is the only fully reproducible output and the only way YuE2 executes rather than guesses), the field-by-field mapping from spec to ABC headers and body, roman numerals to l

• mc-texture-layering

  Texture and spectral layering (织体与频谱分层) - arranging as a space budget rather than an instrument list. Foreground/middle-ground/background depth planning, the perceptual cues that decide what a listener hears as lead, rate-of-change discipline per depth layer, the frequency budget and the three ways

• mc-vocal-direction

  Vocal direction and harmony design (演唱指导与和声设计) - specifying how a vocal should be delivered, not just what notes it sings. The two musical criteria, the vocabulary that actually changes a performance (brighter rather than louder, harder consonants rather than louder), consonant/vowel separation and

• mc-workflow

  Entry point and router for the music composition library (作曲编曲工作流与路由). The S0-S7 stage table from brief to delivered audio, which skill to load for which task, the full-library boundary table that prevents two skills claiming the same decision, the ARR-SPEC gate rules, and the three checks (boundary

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