HARMONY LAB

What chord, how deep in the key. NOW chord Bebas 46 in the name slot; the cell strip (Overpass Mono 16 — Bebas has one glyph for i and I, measured, so a Bebas numeral cannot say minor — active degree in ink, the rest amberDimText) rides beside it. In BOTH (the cycle default) it carries the other fact — symbol big, numerals on the strip; in SYMBOLS / NUMERALS it carries the cell in the same notation on a cycle and disappears on a tune (this bar already fills the name slot) — packet 1’s “ii–V bracketed → I” at zero geometry cost. A long cell windows on onsets (this chord + the next two), never on bars, so 8 beats a chord reads ii · V · I, not ii · ii; and the strip is measured after every paint — whole or absent, 16 → 13 → a shorter window → gone, because a clipped A♭−7 reads A♭−. The counter is bar-in-key at Bebas 44. Row two: CHANGES · KEY F · 4THS → B♭ in the role-label slot the port left empty (the word CHANGES yields to the guide tones when they are on — the modechip already says it), guide tones in the centre when toggled, BARS on the right. The filament measures the key span, ash over the span’s hue. Two-chord bars: both symbols side by side, the active one in ink — a weight swap on beat 3, never a second light. Minor prints as −7: Bebas has one outline for m and M (measured), so the repo’s Dm7 would read DM7 at 46 — the MINOR chip on the sheet lets you see that.

What chord is coming, and when. The approach gutter verbatim: name Bebas 38, numeral Bebas 44, geometry constant, arming a luminance onset. Idle → C7 quiet; two bars out BARS 2 / BARS 1 at ink .55; the last bar of the current chord counts BEATS 4·3·2·1 while the name warms .55 → 1 beat by beat and the ramp fills in the next key span’s hue beneath it — two channels agreeing, the name first. The numeral carries a unit because on this surface a bare IN 3 cannot say beats from bars. A key change reads → B♭ · C−7 — spelled in the coming key, on both phones. At four beats a chord almost every bar is a last bar, so the gutter is armed almost always — the intended tight-cycle feel, eye-test whether it is urgency or noise.

Where am I in the cycle. The form ribbon with key-aware spans: twelve pills for a twelve-key cycle, roots engraved through the existing tiers (a 12-key span is ~29 pt on a 346-pt track at any bars/key → the initial tier, which keeps the accidental). Spent bars are ash; adjacent keys alternate two luminance steps of one practice hue (D4 — amber / litUnderlay, bars not yet played at .60) so the blocks separate without a second meaning for colour. Foot: BAR 6 / 48 · KEY 2 / 12.

beat → the dot lane (LIT, downbeat only).  bar → the playhead steps.  key span → the filament fills.  chord → a content swap, on a downbeat, carried by the light that was already there.

The plate’s two symbols swap weight — ink ↔ amberDimText — and the gutter counts 2·1. No ignition on beat 3, ever: that would be a second amber event in the bar. The step is measured below.

Stage 2 is gated on !engine.isCountingIn (songmap-lab :1655-1659), and Reduce Motion renders the static 0.85 tier with a full ramp and a playhead that jumps (:1661-1663). The Reduce-Motion tier is in the lab clock (the chip); the count-in bars themselves are not drawn on this page — the guard is quoted, and the STOPPED state holds the gutter idle and the filament at zero, which is the same rule the count-in must obey.