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Harmony Controls

The key supplies the tonic. The scale supplies the pitch collection used by diatonic harmony, counterpoint, and arrangement degree maps. Contrapunk includes diatonic, harmonic and melodic minor, harmonic major, double harmonic, pentatonic, blues, symmetric, world, and Barry Harris collections.

Notes outside the selected collection may pass through or use a fallback, depending on the mode.

Mode Behavior
Pass Through Sends the played note unchanged.
Parallel Thirds Adds voices two scale degrees apart.
Parallel Fourths Adds voices three scale degrees apart.
Random Below Chooses a diatonic interval below.
Random Below (consonant) Random below without seconds.
Contrary Motion Moves generated harmony opposite the melody direction.
Counterpoint Scores note-against-note choices and rejects common voice-leading faults.
Explicit Interval Map Uses direct semitone offsets for each scale degree.

Some arrangements select additional engine modes internally.

Voice count sets the total generated structure expected by the mode. Voice position chooses where the played note sits inside that structure. Higher counts create denser harmony and consume more MIDI notes and synth voices.

Voice-leading styles favor different motion and spacing. Palestrina and Bach Chorale are constrained, Jazz favors compact extended movement, and Free applies fewer stylistic penalties.

The Performance view’s Tightness knob controls voice leading, not rhythm or note duration:

  • Off disables voice-leading smoothing.
  • Loose uses the Free style.
  • Smooth uses compact Jazz movement.
  • Strict uses Palestrina-style constraints.

Octave controls can spread, split, or mirror a voicing. Use them after the basic harmony is correct; octave treatment does not repair an incorrect key or scale.