Examples: elegy only (before/after pair)

.gitattributes

@@ -4,3 +4,5 @@
 output_examples/elegy_in_c_sharp_minor_performed.mp3 filter=lfs diff=lfs merge=lfs -text
 output_examples/fantaisie_01_score_as_composed.mp3 filter=lfs diff=lfs merge=lfs -text
 output_examples/fantaisie_02_performed.mp3 filter=lfs diff=lfs merge=lfs -text
+output_examples/elegy_01_score_as_composed.mp3 filter=lfs diff=lfs merge=lfs -text
+output_examples/elegy_02_performed.mp3 filter=lfs diff=lfs merge=lfs -text

output_examples/README.md

@@ -1,37 +1,27 @@
 # Output examples
 
-Every note in these files was composed by the model. The pairs below contain **identical pitches** —
-nothing added, removed or re-pitched — so the only thing that changes between them is *how they are
-played*.
+**Elegy in C-sharp minor** — 608 notes, every one composed by the model (plan-driven: it states a
+theme, develops it by fragmenting, inverting and transposing, then brings it back transformed).
 
-## Fantaisie (F# major)
+Both files below contain **identical pitches**. Nothing was added, removed or re-pitched. The only
+difference is *how they are played*.
 
 | file | |
 |---|---|
-| `fantaisie_01_score_as_composed.mid` / `.mp3` | raw model output: no pedal, near-flat velocities, onsets square on the beat |
-| `fantaisie_02_performed.mid` / `.mp3` | the same 829 notes performed — melody voiced above the accompaniment, chords rolled by choice, rubato around a felt pulse, 174 pedal events caught at harmony changes |
+| `elegy_01_score_as_composed.mid` / `.mp3` | raw model output: no pedal, near-flat velocities, onsets square on the beat |
+| `elegy_02_performed.mid` / `.mp3` | the same 608 notes performed — melody voiced above the accompaniment, chords rolled by choice, rubato around a felt pulse, 196 pedal events caught at harmony changes |
 
-## Elegy in C# minor
+## Why the pair matters
 
-| file | |
-|---|---|
-| `elegy_score_as_composed.mid` | raw model output |
-| `elegy_performed.mid` / `elegy_in_c_sharp_minor_performed.mp3` | the same 608 notes performed (196 pedal events) |
-
-Both were composed plan-driven: the model states a theme, develops it (fragmenting, inverting,
-transposing, augmenting) and brings it back transformed.
-
-## Why the pairs matter
-
-Play the fantaisie's `01` and then `02`. The gap between them is the most useful thing we learned
-building this model: **a dry-sounding symbolic generation is usually not a composition failure but an
-unperformed one.** Pitch content and performance are separable layers, and the performance layer
-carries far more of the perceived quality than we expected.
+Play `01` and then `02`. The gap between them is the most useful thing we learned building this
+model: **a dry-sounding symbolic generation is usually not a composition failure but an unperformed
+one.** Pitch content and performance are separable layers, and performance carries far more of the
+perceived quality than we expected.
 
 There's an acoustic reason as well as a musical one. Staggering a chord's attacks by roughly 20–70 ms
 spreads its beating partials out in time, which measurably lowers sensory roughness, so rolled chords
 aren't merely more expressive than struck ones, they're *cleaner*. Quantising a dense passage onto a
 grid makes it rougher, not just stiffer.
 
-The practical implication: if you're evaluating this model (or any symbolic music model) on raw
-output, you're hearing about half of what's there.
+If you're evaluating this model (or any symbolic music model) on raw output, you're hearing about
+half of what's there.

output_examples/{fantaisie_01_score_as_composed.mp3 → elegy_01_score_as_composed.mp3}

@@ -1,3 +1,3 @@
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output_examples/{fantaisie_02_performed.mp3 → elegy_02_performed.mp3}

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