jtydhr88/music-composition-skills

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SkillsMP catalog refreshed: November 5, 2026 at 19:57

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# music-composition-skills English · [中文版](README_ZH.md) · [日本語](README_JA.md) · [한국어](README_KO.md) 29 agent skills (for [Claude Code](https://docs.anthropic.com/en/docs/claude-code/skills) and [OpenAI Codex](https://developers.openai.com/codex/)) for composing and arranging popular music, distilled from 50 books on orchestration, harmony, form, counterpoint, mixing and style practice, plus 62 arrangements measured from multitrack recordings. Both agents share the same files: install once and it works in both. **The output is a spec sheet.** Ask for a song and the agent fills in an ARR-SPEC (arrangement spec sheet): key, tempo, bar-accurate section map, chord letters and roman numerals, who enters and leaves when, the energy curve, vocal delivery, mix intent. It then compiles that one document into a Suno prompt, a score for YuE2, or a note file that loads into music software. The same document is what you check the result against. The whole design comes down to **one artifact, four uses**: handoff, controlled A/B, compile source, acceptance baseline. **Ask in your own language.** The skill bodies are written in Chinese, because most of the sources are Chinese originals or Chinese translations. The agent answers in whatever language you ask in. **These skills trade time for quality.** A full pass through a professional music workflow often takes twenty minutes or more for a single song (the agent reads the criteria, fills in the spec, runs the checklists). What you get in return is a professional-grade spec. **This library ships no musical works at all, neither the author's own nor any other artist's, no arrangements and no lyrics.** Whether a piece of music is good is a subjective call. Use it yourself and judge for yourself what it is worth, and what it costs you in time. ## The four libraries in this series One audio line, cut into four independent libraries. Each one is usable on its own; the seams between them are written down, so they also combine. | Library | What it does | State | |---|---|---| | **[music-composition-skills](https://github.com/jtydhr88/music-composition-skills)** | Composing and arranging. A brief becomes an ARR-SPEC: key, tempo, section map, harmony, who enters and leaves when, the energy curve, vocal and mix intent, compiled into input for Suno, YuE2 or music software | **This library** | | **[lyric-writing-skills](https://github.com/jtydhr88/lyric-writing-skills)** | Lyric writing. The intent gate becomes a LYR-SPEC (lyric spec sheet): structure, imagery, rhyme, narrative, plus the language layer for Mandarin, Cantonese, English, Japanese and Korean | Available | | **Film scoring** | Music written to picture: spotting, the relation to cuts, how a cue is written and named, how a theme develops across a film | Planned | | **Mixing and sound design** | Turning mix intent into actual moves: EQ, compression, reverb, automation, mastering | Planned | **Independent.** Filling words to an existing melody needs the lyric library only. Arranging an instrumental needs the composition library only. **Combinable, through named handoffs.** ARR-SPEC and LYR-SPEC share six fields: section id, bar count, section name, tempo, key, and who is singing. Whoever works first sets them and whoever works second only reads them: music-first, composition and arrangement set them; lyrics-first, the lyricist sets them, and line lengths and stress positions then constrain the bar counts. If the second side needs one of the six changed, it sends a message to the first side and re-reads once that side has made the change. Lyrics-first, tempo and key may be left empty for composition and arrangement to set. The mix intent written in an ARR-SPEC is what gets handed to whoever does the mix; a cue sheet from whoever scores the picture is the brief handed to composition and arrangement. **The seams are written into the spec sheets.** Each library is self-contained and works when installed on its own; no skill names another library or assumes you have installed one. Anything a library does not own is handed to the role that does, named by its role: EQ and compression practice belongs to mixing, spotting and cue writing belong to film scoring. Libraries meet only through the spec sheet: its external-interface section lists the fields handed out and the upstream fields read when present, and there is a message channel any side may write to. ## Why this exists alongside a generative model Arranging is a craft with decades of accumulated practice behind it. When to subtract before a lift, why a chorus sits higher, who owns the low end, whether the second verse should be emptier or fuller than the first: these judgements are written down across dozens of books, in several languages and traditions. **This library turns them into the decisions a professional arranger would make, in a form a generation model can be told.** Suno and YuE2 will already turn one sentence into a finished-sounding track. What they are missing is those decisions. Whatever you leave unspecified, the model supplies from its own defaults, which is why unguided output tends to come back sounding like the same producer every time. So what this library hands over is the decisions themselves: which bar the guitar leaves, which section drops a layer before the lift, where the energy falls, what the vocal does differently on the third chorus. **The point is to direct a generation model with expert-level rules.** What that buys you is the part prompt engineering cannot reach. A prompt is a sentence, and you cannot check a sentence field by field. A spec sheet can be compared against what came back, changed one field at a time, and re-run for a controlled comparison. Every decision in it carries a reason and a source, so six months later you can still say why the second chorus is arranged the way it is. The model stays the performer and the studio. This is the arranger's chart handed to it. ## Install ### Claude Code #### Plugin marketplace (recommended) ``` /plugin marketplace add jtydhr88/music-composition-skills /plugin install music-composition@music-composition-skills ``` Skills are then invoked as `/music-composition:<skill>`, e.g. `/music-composition:mc-workflow`. #### Personal (all projects) ```bash git clone https://github.com/jtydhr88/music-composition-skills.git cp -r music-composition-skills/plugins/music-composition/skills/* ~/.claude/skills/ ``` #### Project-specific ```bash mkdir -p .claude/skills cp -r music-composition-skills/plugins/music-composition/skills/* .claude/skills/ ``` ### Codex (CLI / ChatGPT desktop app / IDE extension) ```bash codex plugin marketplace add jtydhr88/music-composition-skills # Then: Plugins → select "Music Composition Skills" → Install ``` Or copy the same files to `~/.agents/skills/` (personal) or `.agents/skills/` (project). The same 29 skill files are shipped through both plugin directories, with no duplication and no rewriting. #### Verify Skills load automatically when the agent detects relevant context. To list them: `/skills`. ## Usage examples ``` # "Write me a city pop track about the last train home, three and a half minutes, # and give me everything I need to paste into Suno" # → mc-workflow → mc-style-citypop-rnb → mc-arrangement-arch → mc-render-compile # "This chorus doesn't lift. Fix the arrangement and leave the melody alone" # → mc-arrangement-arch (energy curve, subtraction before the lift) + mc-texture-layering # "Rap verses over a Chinese-style chorus, like a named song" # → mc-workflow §2.4 fusion → mc-style-hiphop (base) + mc-style-chinese-pop (overlay) # "The generated track sounds like AI but I can't say why" # → mc-ai-tell-audit: fourteen enumerated tells, counted one by one # "What drum pattern and tempo does a bossa nova need?" # → mc-rhythm-section: eleven style tables, then the five-step pattern decision ``` ## Common combinations This is more involved than it looks. A one-sentence brief pulls in a dozen skills across composition, arrangement and lyrics, and what the agent reads and produces depends on whether that sentence names a few key things. Below are combinations that have actually been run end to end: how to say it, which skills it walks, what comes out. Anything with lyrics needs both the music library and the lyric library installed. **1. A song with lyrics in the style of a named artist** (the most common case) > Write a Mandarin pop song in the style of a named artist's song, female vocal, to be generated on Suno, with lyrics. Walks: lw-workflow → lw-song-intent → lw-structure → lw-mandarin → lw-tone-check; mc-workflow → mc-style-chinese-pop → mc-melody → mc-development → mc-arrangement-arch → mc-vocal-direction → mc-render-compile Produces: LYR-SPEC, ARR-SPEC, the pack you paste into Suno (title, style description, section-tagged lyrics, exclusions) Note: the reference artist lends instrumentation, tempo, vocal persona and section layout. Never words or melody. **2. A Douyin-style earworm, no storytelling** > Write a Douyin earworm, female, sweet, no storytelling. Suno, with lyrics. Walks: lw-song-intent (attitudinal) → lw-structure (repetition budget, hook placement) → lw-rhyme → lw-mandarin; mc-style-chinese-pop → mc-rhythm-groove → mc-arrangement-arch → mc-render-compile Note: "no storytelling" is what sets the lyric type. Leave it out and you get a situational lyric by default. **3. A sad love song that says it straight, no scenery** > Write a sad love song like a named artist's ballad, male vocal, Suno, with lyrics. The kind that says it directly, no scene description. Walks: as in 1, but lw-song-intent takes the attitudinal route and the anchor is a sentence (the line that opens every chorus); mc-vocal-direction handles the close-mic male voice and the bare final line Note: in the corpus, four in ten attitudinal songs contain nothing you could photograph. The chorus is one sentence said to "you", the verses state how I am, the opener is a monologue. To get that, say "say it directly, no scenes, no objects" in the brief. **4. A feeling, no story** > Write a Mandarin pop song, three and a half minutes, female vocal. The subject: on moving day I left the charger cable in the wall socket, walked two blocks before remembering, and did not go back. Not a story. I want the feeling of remembering and letting it go. Walks: lw-song-intent (situational, anchor object = the cable) → lw-imagery → lw-structure → lw-mandarin → lw-tone-check; music side as in 1 Note: this is the line between situational and narrative. There is an object; there is no plot advancing. **5. An instrumental, composed from nothing** > Write a two-minute-forty instrumental as a short-video bed. Lead is a nylon-string guitar, a little percussion and bass, one keyboard allowed. The feel is "three in the afternoon, waiting for someone, no hurry". No vocals. Walks: mc-workflow → mc-development (motif, character, development devices) → mc-melody → mc-form → mc-harmony → mc-rhythm-section → mc-orchestration → mc-render-compile Produces: ARR-SPEC (motif material and per-section development filled in), the Suno pack, a one-page note Note: no lyrics, so the lyric library stays out. The criterion lives in mc-development: new material under half, and a return. **6. Melody and words exist, arrangement only** > Arrange a Mandarin love song whose melody and lyrics are already written. I want a salsa feel, with brass, medium-fast. Spec only, no Suno prompt. Walks: mc-workflow (arrangement route) → mc-style-latin → mc-rhythm-section → mc-orchestration (brass) → mc-arrangement-arch → mc-texture-layering Produces: ARR-SPEC and a one-page note, nothing else **7. Fusion: rap verses, Chinese-style chorus** > Write a song like a named song, rap plus Chinese style, full Chinese lyrics, for Suno. Walks: mc-workflow §2.4 fusion → mc-style-hiphop (base) + mc-style-chinese-pop (overlay); lw-rap (verses) + lw-chinese-style (chorus) + lw-mandarin **8. Cantonese lyric to a given melody** > Fill this melody with Cantonese lyrics. Bars and syllables per line are attached. Walks: lw-workflow (music-first) → lw-cantonese (compute by pitch class first, then choose characters) → lw-tone-check Note: Cantonese writes in the reverse order, and the Mandarin layer cannot stand in for it. **9. Switching to a local open-source model (YuE2)** > Same song, not through Suno. Generate it with local YuE2 and compile the spec into a score YuE2 can read. Walks: as in 1, plus mc-symbolic-score (compiles ARR-SPEC into a score, with the vocal line and the lyric lines written into it) Note: experimental. The share of lyrics that come out sung is currently below the path that passes a style description and the lyrics directly; details in mc-symbolic-score §6b. The sentences in a brief that actually do something: | What you say | What it decides | |---|---| | artist + song title | instrumentation, tempo, vocal persona, section layout are borrowed. Words and melody never are | | female / male, sweet / close-mic | persona and range in mc-vocal-direction | | Suno / local YuE2 / spec only | the exit: the Suno pack, a score for YuE2, or ARR-SPEC alone | | no storytelling / say it straight, no scenes / not a story | lyric type: attitudinal / attitudinal without objects / situational. Unsaid, situational is the default | | duration | section count and bar count are derived from it | | a list of deliverables | name the files you want and the agent produces exactly that list; one missing means not done | Each of these takes twenty minutes or more to run in full, as described under "time for quality" above. ## No tooling required The plugin is text only, with nothing extra to run. Every check in the library exists as a checklist you or the agent can walk through by eye: the twenty-point spec self-check in `mc-workflow` §3.0, the fourteen AI-tell flags in `mc-ai-tell-audit`, the per-skill "must pass before you finish" lists. **The rules are criteria.** When a check does not pass, you either change the spec or write one line saying why this song should be that way. A deviation with a stated reason is a legitimate choice; nothing in the library blocks you from compiling. ## Multilingual support **One source tree, every language at runtime.** The skills are written once, in Chinese, and the agent answers in whatever language you asked in. No flag, no separate install, no per-language plugin. The skill bodies will not be forked into other languages, and that is a decision. The sister project [screenwriting-skills](https://github.com/jtydhr88/screenwriting-skills) built a full English edition, merged it, then removed it, and the argument that killed it applies here unchanged: if a reader who cannot read Chinese deserves a translated tree, so does a reader who cannot read English, and the next request is Japanese, then Korean, then French. This pack is 52 files. Four languages makes 208 of them, drifting apart independently, with nothing to tell you which one is stale. Translating is the cheap part. The real cost is that forking once removes any principled ground for refusing the second fork. How the runtime covers it instead: - **Output language follows your question.** Ask in Japanese, get Japanese. The chart, the section names and the reasoning all come back in that language. - **Terminology is anchored to the original term.** This field's vocabulary is a mix of English, Italian, German and Japanese in the original: *tension*, *avoid note*, *comping*, *build*, *drop*, 落ちサビ, 打ち込み. The Chinese in the source books is itself a translation, and different translators chose differently, so the original term travels with the concept. - **Terms with no equivalent keep their original form plus a gloss.** 落ちサビ, 符割り, 類音階 and 十三辙 come through as the original plus a short explanation. - **Your score and your lyrics stay in their own language.** Discussing a Chinese song in English is normal. What switches is the language of the conversation. What this trades away is auditability. Unless you read Chinese, what you can read is the agent's account of the instruction file. The file itself stays out of your reach. That is a real cost, and it is the one thing a translated tree would genuinely buy. It is not worth a permanent four-way maintenance burden on a library whose value lies in every rule carrying a verifiable source and page. **READMEs are a different matter** and are translated, because they are short, stable, and the first thing a newcomer meets. ## How the skills are organised Six layers. A layer only knows about the layers below it, and every skill carries a boundary table saying what it does **not** own. That table is what keeps a style layer from quietly rewriting general harmony. ``` L0 workflow router, the ARR-SPEC contract, fusion ownership, the stage map L1 general melody · harmony · progressions · modulation · rhythm · form · counterpoint L2 arrangement architecture · orchestration · texture · rhythm section · sound design · vocal · mix intent L3 style J-pop · city pop & R&B · jazz · Mandarin pop · EDM · rock band · cinematic · hip-hop L4 execution compile to backends · symbolic score · AI-tell audit L5 corpus measured recordings that testify for or against the textbook rules ``` ### L0: entry point | Skill | What it covers | |---|---| | `mc-workflow` | Router and stage map (intent → skeleton → melody & harmony → roster → vocal & mix → compile → generate → accept). Owns the **ARR-SPEC** schema, the empty template, the backend capability file, three worked examples, the twenty-point self-check, and the **style fusion** rules: which skill signs for harmony, which for groove, which for low end | ### L1: general craft (style-independent) | Skill | What it covers | Main sources | |---|---|---| | `mc-melody` | What a line expresses and how to make it singable: range and tessitura, motif and development, peak placement, the reason a chorus sits higher | Schoenberg, Kachulis, 杨儒怀 | | `mc-harmony` | Function and colour: the three functions, cadence types, reharmonisation without over-cooking, available tensions and avoid notes with Levine's chord-scale judgement kept beside the Japanese pop practice | 斯波索宾, Levine, Kachulis, 任达敏 | | `mc-progressions` | 122 named progressions with letters and roman numerals, the eight famous ones, what each implies about form | Japanese progression corpus, 任达敏 | | `mc-modulation` | Moving between keys so the seam sounds intended: pivot chords, the buffer-chord route, direct lifts and when they are cheap | 黄虎威, Japanese modulation practice | | `mc-rhythm-groove` | Rhythm as material before anyone plays it: subdivision, syncopation, anticipation, push and pull | DeSantis, Japanese basics | | `mc-form` | Section design and the standard templates, Japanese section naming, why every section being a multiple of eight is the most audible default | 吴祖强, 李吉提, 杨儒怀 | | `mc-counterpoint` | A second line that is genuinely independent: four complementarity axes, the five species, voice-leading checks, invertible counterpoint for varying a repeat | 于苏贤, Schoenberg, 赵晓生 | | `mc-development` | How one motif grows into a phrase, a section and a whole song: the ten development devices (repeat, sequence, extend, contract, fragment, vary, augment, counterpoint, new, recap), the line between developing and piling up, and the two items it fills in, motif material and per-section development | Yang Ruhuai, Schoenberg *Fundamentals*, Li Jiti | ### L2: arrangement craft | Skill | What it covers | Main sources | |---|---|---| | `mc-arrangement-arch` | The shape of a track over time: energy curve, subtraction events, entry and exit, the arrangement hook. Five rules verified against 62 measured recordings | 文海良, measured corpus | | `mc-orchestration` | Which instrument carries which line, pure versus mixed timbre, balance by register and count, for western orchestra **and** Chinese folk orchestra (four sections, group combination, score order, transposing instruments) | Adler, 杨立青, 杨春林, 朱晓谷, 李民雄 | | `mc-texture-layering` | Arranging as a space budget: foreground/middle/background depth, the critical band as the real unit of masking, why two instruments a fifth apart in the low register fight | Izhaki, Howard & Angus | | `mc-rhythm-section` | Drums, bass and harmony instruments as one unit: the five-step pattern decision (style & feel → tempo band → backbeat position → kick-bass relation → cymbal subdivision), eleven style tables with tempo ranges | Drummer's Bible, Groove Essentials, DeSantis | | `mc-sound-design` | Deciding what a sound must be before touching a synth: 99 technique recipes, the brief-first discipline | 野崎貴朗 | | `mc-vocal-direction` | How a vocal should be delivered and stacked: persona, per-section dynamics, pitch policy (where it is allowed to be imperfect), harmony types and panning | Japanese vocal production practice | | `mc-mix-intent` | What a mix must achieve, stated so a human engineer, a DAW or a generative backend can all act on it. It does not prescribe EQ or compression | Izhaki, Howard & Angus | ### L3: style layers Each one carries a **transfer table**: what this style can lend to others, and what does not travel. | Skill | What is specific to it | Main sources | |---|---|---| | `mc-style-jpop` | Chorus-centred design discipline, 落ちサビ, the section-contrast rules | Japanese arranging practice | | `mc-style-citypop-rnb` | Borrowed jazz harmony over pop form plus a specific timbre set; the worked example spec is this style | measured corpus, L1 harmony | | `mc-style-jazz` | What is jazz-specific: head form, standards, comping, modal thinking | Levine, Valerio, 爵士和声 | | `mc-style-latin` | Latin as three families that must not be blended (Afro-Cuban, Brazilian, Caribbean): the clave grammar (son/rumba, 2-3/3-2), who holds the grid, where bossa's lightness comes from, the percussion register discipline, and a transfer table | The Drummer's Bible, Groove Essentials, Fujitani, Jazz Guitar Groove | | `mc-style-chinese-pop` | Mandarin and Cantonese pop: what the tone system does to arrangement, the Cantonese layer, era differences | 同一首歌 corpus, 黄志华 | | `mc-style-edm` | Form built on layer addition and subtraction: build, drop, tension devices | 竹內一弘, 野崎, measured corpus | | `mc-style-rock-band` | What changes when five people in a room must play it: the roster as a hard constraint, riff as primary hook (Rooksby's 30 riff types, the 3+1 repetition pattern, riff versus vocal), twin guitars, drop D | Rooksby *Riffs*, measured corpus | | `mc-style-cinematic` | Hybrid orchestral scoring at the arrangement level, depth and colour design | Adler, 杨立青 | | `mc-style-hiphop` | Beat-first music: the third time-feel (Dilla), per-voice quantisation, 808 versus kick, sample-based texture and the producers' craft ethics, rap versus sung delivery | Charnas *Dilla Time*, Schloss *Making Beats*, *How to Rap* 1 & 2 | ### L4: execution and verification | Skill | What it covers | |---|---| | `mc-render-compile` | One compiler, many backends. What each backend can and cannot honour is kept as **data** in a capability declaration, so a field the backend cannot act on is never held against it. Adding a model only takes adding a data block | | `mc-symbolic-score` | Compiles ARR-SPEC straight into scores and note files, every format written by the same converter. On this path the spec is **executed** | | `mc-ai-tell-audit` | Fourteen enumerable tells of machine-made music, counted individually. Keeps two questions apart on purpose: *did the backend do what the spec said*, and *does the result carry machine fingerprints*. A track can pass the first and fail the second | ### L5: corpus | Skill | What it covers | |---|---| | `mc-case-studies` | How recordings are made to testify. 62 arrangements measured from multitrack sources and written back as ARR-SPECs, so a textbook claim can be checked against a hit rate. **The corpus is a natural sample.** It is not curated, because curating it would bias it toward the rules you already believe | ## What ships in the package Text only: 29 skills, the reference files that hold the long tables, and six specification files inside `mc-workflow`: | File | What it is | |---|---| | Spec sheet definition | Every field, what it is for, what it is fighting | | Empty template | Copy it and fill it in | | Backend capabilities | What each backend can honour | | Example 1: city pop | A complete worked spec, all twenty checks passing | | Example 2: fusion | Rap over a Chinese-style base, with the ownership table | | Counter-example | What a model writes with no guidance, and which eight checks it fails | ## Source books **Orchestration and instrumentation (10):** Samuel Adler *The Study of Orchestration* vols 1–2; 杨立青《管弦乐配器教程》上中下; Pejrolo & DeRosa *Acoustic and MIDI Orchestration for the Contemporary Composer*, English edition and the Chinese translation《现代音乐人编曲手册》; 杨春林《中国民族管弦乐配器法教程》; 朱晓谷《民族管弦乐队乐器法》; 李民雄《民族管弦乐总谱写法》 **Harmony, counterpoint and theory (11):** 斯波索宾《和声学教程》; Schoenberg *Theory of Harmony* and *Fundamentals of Musical Composition*; Mark Levine *The Jazz Theory Book*; 任达敏《流行音乐与爵士乐和声学》; 于苏贤《复调音乐教程》; 黄虎威《转调法》; Madeleine Richardson *Modes and their Harmony*; 赵晓生《巴赫平均律键盘曲集结构分析版》; 李重光《基本乐理》; 爵士和声（流行音乐学院系列） **Form and songwriting (9):** 吴祖强《曲式与作品分析》; 李吉提《曲式与作品分析》; 杨儒怀《音乐的分析与创作》上下; 中央音乐学院《曲式与作品分析课程谱例集》; 《论曲式与音乐作品分析》; 朱敬修《歌曲写作基础》; Jimmy Kachulis *The Songwriter's Workshop: Melody* and *Harmony* **Arranging, production and mixing (9):** 文海良《编曲》; 野崎貴朗《圖解合成器音樂創作法》; 竹內一弘《圖解電子音樂創作法》; 藤谷一郎《圖解樂風編曲入門》; 熊川浩孝等《图解编曲入门》; Roey Izhaki *Mixing Audio*; 黄承箱、刘希望《音乐制作人白金手册》; Dennis DeSantis *Making Music*; J. Anthony Allen *Music Theory for Electronic Music Producers* **Rhythm, style and genre (9):** Berry & Gianni *The Drummer's Bible*; Tommy Igoe *Groove Essentials*; Rikky Rooksby *Riffs*; Dan Charnas *Dilla Time*; Joseph Schloss *Making Beats*; Paul Edwards *How to Rap* 1 & 2; John Valerio *Bebop Jazz Piano*; 爵士吉他即兴演奏·节奏律动 **Acoustics (1):** Howard & Angus *Acoustics and Psychoacoustics* **Cantonese and Chinese pop history (1):** 黄志华《粤语流行曲四十年》 **Corpus:** Cambridge-MT multitrack library (62 arrangements measured and written back as ARR-SPECs), 《同一首歌》and Chinese guitar-chart collections for form and progression statistics ## Conventions - Each skill opens with a long English description of when to use it, with Chinese keywords appended so routing works in both languages. - Skill bodies are Chinese; numbered principles, tables and checklists. Output language follows the user's question. - **Every rule carries a failure condition or a self-check action.** A rule you cannot test is an opinion. - Where the sources disagree, both positions are kept side by side with a note on when each applies: Levine's chord-scale judgement against the Japanese pop practice, the Drummer's Bible tempo bands against Groove Essentials' refusal to print numbers. - Chords are always written twice: letter symbols **and** roman numerals, default key C. - Citations carry the source and page. Claims that rest on a single source say so. - Long tables and worked examples live in each skill's reference file, so the skill bodies stay short. - Agent-neutral by design: the skill files name no agent and use no agent-specific syntax. ## Technical notes - **Runtime.** The plugin is plain text. There is no script to run, no Python, no Node, no lint step. The skill files follow the open [agentskills.io](https://agentskills.io) standard, and both agents read the same `SKILL.md` files. - **Spec files.** An ARR-SPEC is a YAML file (`ARR-SPEC.yaml`); the lyric side's is `LYR-SPEC.yaml`. The six specification files sit in `mc-workflow/`: the definition `ARR-SPEC.schema.md`, the empty template `ARR-SPEC.template.yaml`, the backend capability declarations `backends.yaml`, the examples `example-01-citypop.yaml` and `example-02-fusion.yaml`, and the counter-example `example-00-ai-default.yaml`. - **Fields mentioned above.** The mix intent is the `mix_intent` field. The two items mc-development fills in are `material` (motif material) and `form[].development` (per-section development). - **Backends and export formats.** What you paste into Suno is packed in `suno-pack.md` (title, style description, section-tagged lyrics, exclusions). The score for YuE2 is ABC, with the vocal line in the lowercase note register and the lyrics on `w:` lines. mc-symbolic-score writes ABC, MusicXML and MIDI from one emitter; the note file that loads into music software is the MIDI. In `backends.yaml` each backend declares `honors: exact / hint / none` for every field, and a field declared none is left out of that backend's score. - **Per-skill files.** `SKILL.md` frontmatter holds `name` (kebab-case, matches the folder) and a long English `description` ending in "Use when …", with Chinese keywords appended. `reference.md` holds long tables and worked examples so `SKILL.md` stays under 40 KB. ## License MIT for the skills themselves, see [LICENSE](LICENSE). Quotations from the source books are not covered by it and remain the property of their authors and translators. See [NOTICE](NOTICE). --- Sister project, same idea applied to screenwriting: [screenwriting-skills](https://github.com/jtydhr88/screenwriting-skills). This library supersedes [japanese-composition-skills](https://github.com/jtydhr88/japanese-composition-skills); its eleven skills were absorbed into the general and style layers here.

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