Generate musical phrases, chord progressions, beats, jingles, and short pieces via local algorithmic synthesis. Sample-free, license-clean, fully offline. Scale-degree composition, pattern-based arrangement, frequency-separated mixing rules. Outputs 44.1 kHz stereo WAV to Assets/GeneratedSFX/.
Installation
Install with Codex or Claude Copy this prompt, paste it into Codex, Claude, or another assistant, and let it review the skill page and install it for you.
Generate musical phrases, chord progressions, beats, jingles, and short pieces via local algorithmic synthesis. Sample-free, license-clean, fully offline. Scale-degree composition, pattern-based arrangement, frequency-separated mixing rules. Outputs 44.1 kHz stereo WAV to Assets/GeneratedSFX/.
user-invocable
true
argument-hint
description of the musical piece to generate (genre, mood, tempo, length)
Build Music — Musical Phrase / Beat / Jingle Generator
Compose a short musical piece (4–60 s) from a description: melody, harmony, rhythm. Output: 44.1 kHz stereo WAV in Assets/GeneratedSFX/ (same folder as /build-sfx).
User's request: $ARGUMENTS
Looking for sound effects? UI clicks, impacts, foley, ambient textures, and any non-pitched sound design belong in /build-sfx.
Parse max_volume: -XX.X dB. Below -30 dB or absent → status: "SILENT_OUTPUT" with peak value and script path. A healthy render lands at -1 to -0.1 dB; even a quiet ambient bed should clear -20 dB. ffmpeg missing → status: "VERIFY_TOOL_MISSING".
WavBuilder.write auto-detects stereo: this skill's renderer always returns { left, right }, so the WAV header writes as stereo automatically.
Engine entry point
Load the engine + music modules via the skill's barrel re-export:
constENGINE = '<ABSOLUTE_PATH_TO_BUILD_MUSIC>/tools';
const m = require(ENGINE);
This gives you the full audio engine (m.audio_primitives, m.synth_voices, m.mix_bus, etc.) plus music-only modules: m.pattern, m.arrangement, m.renderer, with convenience aliases m.parseMini, m.scale, m.stack, m.mask, m.track, m.render, m.WavBuilder.
Parse with parseMini(str, { cycleBeats }). Default cycleBeats: 4 (one bar of 4/4).
Syntax
Meaning
c4 e4 g4
Three notes, equal duration
0 2 4 6
Scale-degree pattern (use scale() to map to MIDI)
~
Rest
[a b]
Group: a and b each take half the parent's slot
{c4, e4, g4}
Polyphonic stack (chord hit at one time)
<a b c>
Cycle: one element per cycle index (use cycleIndex in opts)
a*4
Repeat 4× inside one slot
a/2
Slow by 2 (note takes 2× the slot)
a@3
Weight: this element takes 3× a regular slot
a:0.7
Velocity 0..1 (here 0.7 → MIDI velocity 89)
Examples:
m.parseMini('0 [2 4] 6 7') // 4 events over 4 beats; the [2 4] group splits beat 2
m.parseMini('c4 e4 g4 b4', { cycleBeats: 2 }) // same notes over 2 beats (= 8th notes)
m.parseMini('{c4, e4, g4} ~ ~ ~') // a chord hit on beat 1, rest until end
m.parseMini('bd ~ sn ~') // drum pattern (use string values like 'bd', 'sn')
Scale-degree composition (USE THIS, not absolute pitches)
Strongest rule for tonal coherence: compose melody and chords in scale degrees (0 2 4 6), then map them through scale(events, scaleName, root). This prevents accidental out-of-key notes and lets you transpose the whole piece by changing the root.
Tip: when degrees go past the top of the scale, they wrap to the next octave automatically. 0 2 4 7 9 covers more than one octave fluidly.
Chord progressions
Default path — m.composeChords({ genre, seed }). Picks a progression, key, voicing strategy, and chord-extension policy from genre-appropriate pools. Two requests with the same vibe but different seeds produce genuinely different chords (different key, different changes, different voicing), not just the same chord with different effects on top.
Pass an integer seed if you want reproducibility (regenerating the same piece, or pinning the harmony while iterating on rhythm/mix). Omit it for a fresh random pick each run.
Available genre tags: pop, sad-pop, lofi, lofi-jazz, jazz, cinematic-epic, cinematic-melancholy, dreamy, folk, edm-uplift, dark, rnb. Unknown tags fall back to pop. Pick the closest tag — vibes are described to the user in their own words, but the genre tag is what determines harmonic flavor.
To pin one axis while letting the helper vary the rest (e.g. force C major but vary the progression):
Other overrides: progression (array of roman numerals or named-progression string), voicing (closeVoiced / spread / drop2 / rootless7th / shellVoicing / wideOpen), extension (none / 7 / 9 / add9 / sus2 / sus4), voiceLeading: false to disable octave-rotation voice-leading.
To turn chords into comp events: use m.chordEvents(chords, { voice, bars }). It picks the right note duration per voice — long-sustain voices (pad, choirAh) get a short gate (~45% of the bar) so their release tails decay before the next chord lands; piano-family voices get ~85%; plucks/mallets get the full bar. Hand-rolling beats: 4 on a sustained pad chord causes chord N's release to bleed into chord N+1, producing accidental composite harmonies — chordEvents fixes this.
Pass voice to composeChords so the voicing picker can also avoid pairings that beat against the voice's own detuning (e.g. wideOpen voicing under pad creates audible warble — filtered out automatically when voice is set).
Other chordEvents knobs:
stagger: 0.1..0.3 — beats between successive chord notes (low→high), for a "strum" or "swell" feel instead of block-chord-on-beat-1.
gateOverride: 0..1 — force a specific gate fraction, bypassing the voice profile.
barsPerChord — default 1; set to 2 for slow ballad pacing.
Layered comp — for cinematic / dark / dreamy beds, a single voice often sounds hollow (strings up high + sub-bass down low with nothing in the midrange). Stack a soft secondary voice that fills the mid:
Escape hatch — m.music_theory.buildProgression(key, scaleName, progression) returns raw root-position triads/7ths with no voicing or voice-leading. Use only when you need full manual control; otherwise stick with composeChords — it's strictly more expressive. Named progressions still available there: I-IV-V-I, I-V-vi-IV, ii-V-I, I-vi-IV-V, I-IV-vi-V, i-iv-V, i-VI-III-VII, vi-IV-I-V, 12-bar-blues.
Melody / lead
For a tonal piece, the foreground layer (melody / lead) usually sits on top of the chord layer. There are three options, in order of complexity:
A real melodic line, NOT a fixed motif looped. Strong beats (beat 1 and 3 of every bar) are anchored on the current chord's tones — so the melody never clashes with the harmony. Weak beats use scale tones near the previous pitch for smooth stepwise motion. Phrase contour (rising / falling / arch / descend-ascend) shapes the trajectory across the whole piece.
restProbability — 0..1 chance of resting on a weak beat. 0 = continuous (busy), 0.3 = breathy.
scale + scaleRoot — optional but recommended. Without them, weak-beat passing tones use chromatic neighbors; with them, they use diatonic scale steps which sounds smoother.
Always pair the melody with arrangement masking so it enters/exits (arrangement8().a or .b typically) — a melody that plays every bar from start to finish feels wallpapery.
2. m.composeArpeggio({ chords, style }) — chord-tone foreground without a "tune"
Every emitted pitch is a chord tone of the current chord — by construction it cannot clash with harmony, but it's also not a real melody (no contour, no phrasing). Use for "animation on top" rather than "song with a melody." Same example as the chord progressions section above.
3. Hand-author with parseMini + scale — for tightly composed pieces
When you have a specific tune in mind, write it directly:
Warning: if the chord progression is composeChords-generated and changes underneath, a fixed scale-degree melody can clash on chord 2/3/4 because the pitches you picked may not be chord tones for the later chords. Either use composeMelody (which anchors automatically) or pick scale degrees that happen to be chord tones for every chord in the progression.
Voice catalog
All voices live in m.synth_voices. Each takes (midi, durBeats, velocity, bpm, ctx?) and returns a Float32Array. Voices preserve their natural decay — buffer length will exceed durBeats * 60 / bpm.
Voice
One-liner
Best use
piano
Inharmonic additive piano with double-decay
Jazz, lofi, ballads, cinematic comp
electricPiano
FM electric piano (tine-like top + warm body)
Jazz, R&B, lofi comping
bell
4-op FM bell, long ring-out
Ear candy, intros
marimba
FM mallet, short woody decay
Ostinatos, tonal accents
vibraphone
FM with 5 Hz tremolo (motor-disk-style)
Jazz, ambient
pluckString
Delay-line pluck, bright with velocity
Harp/koto ostinatos
nylonGuitar
Delay-line pluck + body thump
Finger-style chords
pad
Detuned-saw + slow filter sweep
Warm pad bed, cinematic body
analogBrass
Saws + velocity-tracking filter
Fanfare, brass stabs
synthBass
Saws + sub + filter envelope
Electronic bass
subBass
Pure sine + triangle harmonic
Sub-200 Hz weight
synthLead
Three-saw stack, resonant LPF
Cut-through leads (synthwave/edm)
flute
Digital-waveguide tube, breathy
Cinematic / emotional melody
clarinet
Waveguide tube, woody (odd harmonics)
Cinematic / mournful melody
choirAh
Detuned saws + 'a' formant + vibrato
Vocal pad — use sparingly, only as a swell accent in B sections (detuned-saw character is obvious if exposed).
kick
Pitch-dropping sine + click
All genres
snare
Triangle thump + bandpassed noise
All genres
hat
Bandpassed noise (open if midi ≥ 49)
All genres
tom
Pitch-sweeping sine, tunable
Taiko fills, cinematic accents
clap
Four staggered noise bursts + tail
House, hip-hop
shaker
Filtered noise burst
Top-end groove
Cinematic comp recommendation: layer piano (chord hits with cathedral reverb — gives harmonic definition + iconic Hans-Zimmer feel) + pad (sustained body underneath). There is no "strings" voice in this skill — pure-DSP synthesis can't convincingly fake bowed strings (no Helmholtz physics, no body convolution). If you need string-section character, use sampled assets, not synthesis.
Per-track FX & mixing rules (frequency separation)
Frequency separation is the single biggest mix-quality lever. Apply these via each track's fx dict (passed to mix_bus.applyFx).
Layer
Rule
Why
Sub-bass / kick low end
lpf: 100..150
Keep it tight and weighty; no harmonic clutter
Bass line
lpf: 800..1400, hpf: 50
Defined fundamental, no boom
Pad / strings
hpf: 200, lpf: 3000..4500, gain 0.15–0.30
Pad sits mid; doesn't fight bass or lead
Lead / melody
hpf: 400..600
Cuts above pad, doesn't mud with bass
Drums (kick)
lpf: 6000 (subtle), gain 0.7
Body + click together
Drums (hat/snare)
hpf: 300+
Get them above the bass
Glue
compressor: { threshold: 0.6 }
Optional on noisy mixes
Common reverb assignments: pad/strings/lead → largeHall, piano → mediumRoom, percussion → none or smallRoom, sub-bass → none.
Arrangement (mask)
Static loops sound like loops. Have layers enter and exit across cycles using mask(events, maskStr, cycles, cycleBeats).
const a = m.arrangement.arrangement8(); // intro/A/B/outro template, 8 cycles totalconst drums = m.parseMini('bd ~ sn ~', { cycleBeats: 4 });
const drumsAll = m.repeat(drums, 8); // repeat across 8 cyclesconst drumsMasked = m.mask(drumsAll, a.a, 8, 4); // only active in section Aconst pad = m.parseMini('{0,2,4} ~ ~ ~', { cycleBeats: 4 });
m.scale(pad, 'minor', 'C3');
const padAll = m.repeat(pad, 8);
const padMasked = m.mask(padAll, a.full, 8, 4); // pad plays throughconst lead = m.parseMini('~ ~ 0 2 4 ~ ~ 7', { cycleBeats: 4 });
m.scale(lead, 'minor', 'C5');
const leadAll = m.repeat(lead, 8);
const leadMasked = m.mask(leadAll, a.b, 8, 4); // lead only in section B (climax)
Available masks in m.arrangement.MASKS and arrangement8() / arrangement16(). Or build your own with maskFromCycles([true, true, false, ...]).
Humanization (defaults on)
Every track is automatically humanized:
Event-level timing jitter: ±8 ms (default)
Velocity jitter: ±12% of velocity range
Voice-level wobble: filter cutoff and detune drift slightly per note
To disable on a specific track (e.g. for tight quantized drums): m.track(..., { quantize: 'strict' }).
To dial humanization up or down per track: m.track(..., { humanize: { timeJitter: 0.015, velJitter: 0.18 } }).
3. Cinematic full piece — chords + melody + arrangement, ~50 s
A real cinematic piece needs all three: chord progression, melody, and section-aware arrangement. The melody is what makes it sound like music rather than a bed.
// 1. Chord progression. Cinematic-epic = minor key (i-VI-III-VII variants).// Pass voice='pad' so the picker avoids voicings that beat against detuned-saw voices.const { chords, meta } = m.composeChords({ genre: 'cinematic-epic', seed: 7, voice: 'pad' });
const a = m.arrangement.arrangement16(); // intro / A / B / outro section masksconstBARS = 16; // arrangement16 expects 16 cycles; cycleBeats = 4// 2. Comp layer: piano (cathedral reverb — harmonic definition) + pad (sustained body).const pianoEv = m.chordEvents(chords, { voice: 'piano', bars: BARS, velocity: 75 });
const pianoMasked = m.mask(pianoEv, a.full, BARS, 4); // piano throughoutconst padEv = m.chordEvents(chords, { voice: 'pad', bars: BARS, velocity: 55 });
const padMasked = m.mask(padEv, a.full, BARS, 4); // pad throughout// 3. Sub bass: one note per chord, two octaves below — loop across all barsconst subEv = [];
for (let bar = 0; bar < BARS; bar++) {
const ch = chords[bar % chords.length];
subEv.push({ time: bar * 4, beats: 4, value: ch.root - 12, velocity: 95 });
}
const subMasked = m.mask(subEv, a.a, BARS, 4); // sub enters in A section// 4. MELODY: chord-anchored, arch contour, diatonic passing tones.const keyMatch = meta.key.match(/^([A-Ga-g][#b]?)(-?\d+)$/);
const scaleRoot = keyMatch[1] + (parseInt(keyMatch[2]) + 1); // melody one octave above keyconst melodyEv = m.composeMelody({
chords, bars: BARS, notesPerBar: 4,
octaveShift: 1, contour: 'arch',
scale: meta.scale, scaleRoot,
seed: 8, restProbability: 0.20,
});
const melodyMasked = m.mask(melodyEv, a.b, BARS, 4); // melody only in B (climax)// 5. Percussion — taiko-style toms in B sectionconst tomEv = m.parseMini('0 ~ ~ ~ ~ ~ 0 ~', { cycleBeats: 4 });
for (const e of tomEv) e.value = 45;
const tomFull = m.repeat(tomEv, BARS, 4); // 8 bar-long cycles, each offset by 4 beatsconst tomMasked = m.mask(tomFull, a.b, BARS, 4);
const tracks = [
m.track('piano', 'piano', pianoMasked, { fx: { hpf: 250, lpf: 4500, reverb: 'cathedral', gain: 0.4 } }),
m.track('pad', 'pad', padMasked, { fx: { hpf: 200, lpf: 2400, reverb: 'largeHall', gain: 0.22 } }),
m.track('sub', 'subBass', subMasked, { fx: { lpf: 130, gain: 0.6 } }),
m.track('melody', 'flute', melodyMasked, { fx: { hpf: 400, lpf: 5000, reverb: 'largeHall', gain: 0.38 } }),
m.track('tom', 'tom', tomMasked, { fx: { lpf: 1800, gain: 0.45, reverb: 'largeHall' } }),
];
const out = m.render(tracks, { bpm: 75 });
m.WavBuilder.write(out, '/abs/path/to/Assets/GeneratedSFX/cinematic_piece.wav');
The arrangement gives the piece shape: intro (piano + pad only) → A section (sub bass enters) → B section / climax (flute melody + taiko toms enter) → outro (decay). Without these section masks, all five layers play start-to-finish and the piece feels static.
Before writing the WAV, confirm you did the relevant items:
Harmony uses composeChords({ genre, seed }) for any tonal piece — not buildProgression() directly. The genre-aware composer varies key, progression, voicing, and extensions across runs so two pieces with the same vibe don't share identical chords.
Melody uses composeMelody({ chords, ... }) for any piece that needs a foreground tune — not a fixed parseMini motif looped over a moving progression. Mask it through arrangement8() sections so it enters and exits rather than playing every bar.
Comp events via m.chordEvents(chords, { voice, bars }), not hand-rolled beats: 4 event arrays. Pass the same voice to composeChords so it can filter voicings that beat against the comp voice.
Cinematic comp uses piano + pad layered. There is no analogStrings voice in this skill (removed — pure-DSP synthesis can't convincingly fake bowed strings). Piano with cathedral reverb + pad underneath delivers actual cinematic gravitas.
Composition uses scale degrees (0 2 4 6 + scale()), not absolute pitch names where it doesn't matter.
Humanization is enabled (default) on at least every melodic and pad track. Only use quantize: 'strict' for 8-bit or hand-coded tight grids.
Mask-based arrangement for any piece longer than 8 s — sections must enter/exit, not loop unchanged.
Per-track EQ applied — HPF + LPF rules above, not a flat full-range mix.
Voices fit the genre — electricPiano (not synthLead) for lofi; pluckString (not bell) for folk; kick + snare + hat together for any beat.
Reverb on tonal tracks — even small (smallRoom) on dry pianos makes a huge difference.
No clipping — master chain handles soft-limit, but check peak in the WavBuilder log line if you're stacking 6+ tracks.
Common failure modes
"Everything is muddy" — Missing HPF on midrange tracks. Apply hpf: 300 to pad, hpf: 500 to lead, hpf: 4000 to hats.
"Sounds robotic / static" — Humanization disabled or all quantize: 'strict'. Re-enable defaults.
"It's just a loop" — No arrangement masks. Use arrangement8() and route different tracks through different sections.
"The piano is plinky" — Used a sharp ADSR release that killed the natural decay. Don't pass quantize: 'strict', don't manually re-envelope the voice output.
"Stops abruptly" — Manually set duration lower than the longest event's release tail. Either leave duration unset (renderer estimates) or add 3+ seconds of tail.
"The melody on top sounds wrong / clashes with the chords" — A hand-rolled scale-degree lead is looping the same motif over a moving progression; non-chord-tones land on strong beats. Use composeMelody({ chords, scale, scaleRoot }) instead (see Melody / lead section for how strong-beat anchoring works).
"Pad chords sound smeared, woozy, or out of tune" — Long-release voices playing full-bar chords back-to-back cause release-tail bleed. Use m.chordEvents(chords, { voice }) — see the chordEvents paragraph for gate details.
"Cinematic/dark mix sounds hollow" — Comp voice (strings) is high, bass is sub-low, nothing in between. Add a soft pad layer at ~50% velocity to fill the 200–500 Hz mid.
"The piece sounds like a static loop / no progression or song shape" — Likely no melody and no arrangement masking. Add composeMelody for a foreground tune and route different layers through arrangement8() sections so they enter and exit.
"Top voice of the chord layer reads as melody, but I want one anyway" — This was previously documented as a problem; it's actually a feature of harmonic music. If you don't want it, see the textural / atmospheric branch (granular.* from build-sfx) — but most music should have a moving top voice. Don't reach for voicingMode: 'topAnchored' unless the piece is meant to be a held bed with no progression.
