- Style grammar
- Each music type owns its meter choices, backbeat, groove cells, bass behavior, chord vocabulary, scales, form, instrumentation, and mix.
- Theme architecture
- Each piece gets three related melodic themes — a main idea, a hook, and a bridge — placed by one of six forms: verse/hook/bridge, call and response, an AABA cycle, riff and release, a long arc, or through-composed lines. Chord changes follow their own motion pattern, so the harmony does not simply step through the progression one bar at a time.
- Harmony first
- The progression and exact voicings are built before the lead. Melody candidates are checked against the notes the harmony instrument will actually play.
- Melody guardrails
- Structural notes use stable chord tones. Passing notes must resolve. Register collisions, overlapping lead notes, unsupported endings, and disruptive leaps are repaired before release.
- Forecast variation
- Time of day, temperature movement, wind, clouds, and precipitation vary tempo, density, fills, chord texture, bass pickups, and motif phrasing without replacing the piece’s identity.
- Remix contrast
- A Remix is rejected unless all three themes, the accompaniment, and the melodic form change materially. In automatic style mode the music type must move to a different category as well, along with the meter, the tempo, or the theme architecture. A key change alone never counts as a new song.
- Musical flair
- Occasional arpeggios use the active chord. Chromatic approaches appear only as brief lead-ins and resolve immediately to a stable target.
- Loop and seed
- The complete forecast composition repeats exactly. City, weather snapshot, controls, and seed reproduce the same piece.