fix(songwriting): adjudicate phrasing, song-forms, bridge, and exercises against Essential Guide to Lyric Form and Structure chapters 1, 2, and 6

plugins/songwriting/.claude-plugin/plugin.json

@@ -1,7 +1,7 @@
 {
   "$schema": "https://json.schemastore.org/claude-code-plugin-manifest.json",
   "name": "songwriting",
-  "version": "0.8.2",
+  "version": "0.8.3",
   "description": "Songwriting craft companion — nine concern-scoped lyric-craft skills (workflow router, rhyme, object-writing, metaphor, meter-prosody, song-form, co-write, diagnose, practice) applying Pat Pattison's methods, with an object-writing agent that performs the sensory exercise itself and per-skill emission boundaries that route generation to the skill that owns it, plus Suno v5.5 prompt engineering (style prompts, tagged lyrics, genre templates, troubleshooting).",
   "author": {
     "name": "Melodic Software",

plugins/songwriting/CHANGELOG.md

@@ -3,6 +3,103 @@
 All notable changes to the `songwriting` plugin are documented here. Format follows
 [Keep a Changelog](https://keepachangelog.com/en/1.1.0/); this plugin uses semantic versioning.
 
+## [0.8.3]
+
+A source-fidelity pass over *Essential Guide to Lyric Form and Structure*
+(1991) Chapters 1, 2, and 6, each read in full with every figure, plus
+Chapter 5's bridge and song-system material. **This opens Book 1** and settles
+the two claims the 0.8.2 pass had to leave standing. Paraphrase only; no
+chapter prose, example lyrics, or exercise answers reach this public
+repository.
+
+### Fixed
+
+- **"Four times is a lot" was credited to 1991 Chapter 6 as a shared warning.
+  It is 2009's alone.** Chapter 6, read in full with its 37 figures, never
+  discusses V/V/Ch/V/V/Ch, never counts verses, and never names four. Its
+  related claim is about pattern-size monotony, not verse-exposure count.
+  `song-forms.md` now scopes the warning to *Writing Better Lyrics* (2009),
+  Chapter 22, states what 1991 actually says instead, and attributes the bare
+  pull-quote that had been sitting uncited near the top of the file.
+- **"Southern Comfort" was read as seven phrases with the eighth withheld. The
+  verse has eight, and the eighth arrives.** The rhyme-column and scansion
+  figures are unambiguous: eight phrases rhyming `x a x a x a b b`. Nothing is
+  withheld in phrase *count* — the eighth phrase lands and refuses the
+  three-stress common-meter close and the rhyme resolution the first seven set
+  up, which is what makes it a Deceptive Closure. Corrected in
+  `song-forms-examples.md` and `song-forms.md`.
+- **The resulting standoff in `form.md` is dissolved, not re-hedged.** 0.8.2
+  recorded 2009 Chapter 20's "two common-meter systems" and the 1991 "seven
+  phrases" reading as two coexisting readings not to be merged. With the 1991
+  text verified, both books read **eight**; they differ only in vocabulary
+  (extra stress in the final phrase vs. deceptive closure). The instruction to
+  keep the counts apart is removed.
+- **Two image inventories claimed their 1991 chapter has no linked images.
+  Chapter 6 has 37 and Chapter 5 has 32, and in both the figures carry the
+  argument.** The scansion and rhyme-column analysis lives in the figures while
+  the text layer trails off at dangling colons. `song-forms.md`'s false entry is
+  how the seven-phrase error survived a previous pass; `form.md` carried the
+  same falsehood for Chapter 5. Both now state the real count. `form.md`'s entry
+  also records that Chapter 5 has *not* been read in full, so claims sourced to
+  it are not mistaken for verified.
+- **The three bridge functions were cited to Chapter 5; they are Chapter 6's.**
+  Book 1 carries two different bridge lists and the plugin had merged their
+  labels. `bridge.md` now cites Chapter 6 for the three purposes, and records
+  Chapter 5's separate five-point characterization of what a bridge *is* so the
+  two stop being conflated. Same fix in `song-forms-examples.md` and
+  `song-forms.md`.
+- **"Different-size system" had been relocated from the song system to the
+  bridge.** Chapter 6's claim is about the *song system's* size, not the
+  bridge's own phrase count or line length — and Pat's word is **different**,
+  not shorter. The direction depends on the form: in verse/chorus a short
+  bridge makes the last system shorter so the final chorus arrives early, while
+  in verse/refrain and AABA the bridge-plus-final-verse system is *longer* than
+  the verse-only systems before it. Corrected in `bridge.md`, `form.md`, and
+  `templates/bridge-writing-prompt.md`.
+- **All four jointly loaded bridge consumers now agree.**
+  `/songwriting:song-form bridge` loads `bridge.md`, `form.md`,
+  `templates/bridge-writing-prompt.md`, and `song-forms.md` together; the
+  Chapter 5 attribution and the phrase-count reading of function 2 survived in
+  `form.md` and the template, so a single invocation would have supplied
+  contradictory sourcing and diagnostics.
+- **`phrasing.md` stated Chapter 1's spotlight use twice and got it wrong the
+  second time.** The early section has it right — the balancing position is the
+  last phrase of an *even* section, and stopping is what spotlights. The later
+  appended block said the balance *shift* is the spotlight, which is Chapter
+  1's third use, not its first. Fourth file found with this
+  correct-early/wrong-late shape.
+- **The even/odd balance rule was stated without either of Pattison's own
+  overrides.** Nesting can rescue an odd count (the five-phrase "Fathers and
+  Sons" verse seems balanced because two short phrases add up to one long one);
+  closure behavior can unbalance an even one ("Southern Comfort" at eight).
+  Applied mechanically, the bare rule misdiagnoses both of his examples.
+- **Acceleration and deceleration were presented as an exclusive choice.** The
+  "Slow Healing Heart" case speeds up, returns to pace, then slows; Pattison is
+  explicit that more than one blank gets filled. The practice method said to
+  pick one label.
+- **"The spotlight effect is multiplicative, not additive" is not Pattison's
+  claim.** He says the surprise phrase spotlights both lines, *especially* the
+  last. The invented framing and the dropped ranking are both corrected.
+- **Chapter 2's exercises were missing entirely.** `exercises.md` claims to
+  preserve the numbered series for Chapters 1-7, but ran 1, 2, 3, 4 and then
+  jumped to 8 — the gap is exactly Chapter 2's three. Added Ex 5 (label the
+  pace effect, filling more than one blank where earned), Ex 6 (complete a
+  section accelerating, then decelerating), and Ex 7 (contrast a whole section
+  by phrase length), generalized in the style of Ex 1-4.
+- Doubled year in two headings (`exercises.md`, `five-compositional-elements.md`)
+  left by a mechanical book-title substitution.
+
+### Added
+
+- `phrasing.md` — two unbalanced sections can balance each other; Pattison's
+  stated use for motion pairs one unbalanced section with another equally
+  unbalanced one, so odd sections need not be discharged by an even one.
+- `phrasing.md` — the reversal test: swap a verse pair and see whether the push
+  survives. If it does not change, the imbalance is not doing the work.
+- `song-forms.md` — Chapter 6 states its two form principles as a pair. AABA
+  runs on the limerick's principle and verse/chorus on Common Meter's, also
+  called the Ballad Stanza; only the first half was recorded.
+
 ## [0.8.2]
 
 A source-fidelity pass over `process.md`, `co-writing.md`, and the co-write

plugins/songwriting/context/pat-pattison/research/audit-checklist.md

@@ -166,7 +166,7 @@ After the per-line pass, zoom out.
 - [ ] central section chosen (chorus or refrain — *Essential Guide to Lyric Form and Structure* (1991), Chapter 5)
 - [ ] title position decided
 - [ ] repetition strategy: chorus repaints? refrain stays exact?
-- [ ] bridge present? — bridge fulfills at least one of the three *Essential Guide to Lyric Form and Structure* (1991), Chapter 5 functions (break monotony / different-size system / new perspective)
+- [ ] bridge present? — bridge fulfills at least one of the three *Essential Guide to Lyric Form and Structure* (1991), Chapter 6 functions (break monotony / different-size song system / new perspective)
 - [ ] "four times is a lot" check (*Writing Better Lyrics* (2009), Chapter 22) — V/V/Ch/V/V/Ch risk
 - [ ] verse-job division clear (You-I-We? Past-Present-Future? per box-model.md)
 

plugins/songwriting/context/pat-pattison/research/bridge.md

@@ -1,8 +1,8 @@
 # Bridge Writing
 
 Pat Pattison - *Songwriting: Essential Guide to Lyric Form and Structure*
-(1991), Chapter 5; *Writing Better Lyrics* (2009), Chapters 22-23. Bridge as a
-developmental section: most unbalanced, structurally distinct, content-new.
+(1991), Chapters 5-6; *Writing Better Lyrics* (2009), Chapters 22-23. Bridge as
+a developmental section: most unbalanced, structurally distinct, content-new.
 
 ## Core idea
 
@@ -16,21 +16,46 @@ If a writer adds a "bridge" that uses the verse's phrase count, line length,
 rhyme scheme, and content angle, that isn't a bridge — that's another
 verse with different words.
 
-## Three bridge functions (*Essential Guide to Lyric Form and Structure* (1991), Chapter 5)
+## Three bridge functions (*Essential Guide to Lyric Form and Structure* (1991), Chapter 6)
 
 A bridge must serve **at least one**, often all three:
 
 1. **Break monotony** — the song has been in established structure too long;
-   the bridge contrasts to reset the ear
-2. **Different-size system** — bridge uses a phrase count or line length not
-   seen elsewhere; the new size says "we're somewhere new"
+   the bridge contrasts to reset the ear, and sets up the section after it as
+   a contrasting arrival
+2. **Different-size song system** — the different size belongs to the *system*,
+   not to the bridge's own dimensions. Pat's word is **different**, and the
+   direction depends on the form:
+   - *Verse/chorus.* Systems 1 and 2 each run verse → chorus. A bridge that is
+     shorter than a verse (most are) makes system 3 **shorter**, so the final
+     chorus arrives "early" and gains interest from the change of pace.
+   - *Verse/refrain or AABA.* Every system was one verse long. The bridge does
+     not shorten anything — it creates a system that starts at the bridge and
+     ends when the last verse closes, which is **longer** than the ones before
+     it. Chapter 6 claims only the size change here, not an early arrival; the
+     "early" language belongs to the verse/chorus case above.
+
+   Diagnose by asking what the bridge is grouped with, not by assuming the last
+   system shrinks
 3. **New perspective** — bridge says something the verses haven't said.
    Often the "why" — the underlying cause or stakes the song has only
-   implied so far
+   implied so far. Chapter 6 frames it as letting the established ideas
+   "breathe" by moving to a new angle
 
 Diagnose a draft bridge: which of these three does it do? If none, it isn't
 bridging — it's restating. Rewrite or remove.
 
+**Do not confuse this list with Chapter 5's.** Book 1 carries two bridge lists
+and they answer different questions. Chapter 6's three purposes above are what
+*adding* a bridge accomplishes for a form. Chapter 5 gives a separate
+**five-point characterization of what a bridge is**: it is a developmental
+section; it develops a new perspective or contrasting idea; it unbalances by
+moving away from established structures, creating structural tension; it is
+resolved by the return to established structures; and it is therefore
+frequently the lyric's most unbalanced section. Chapter 5 also notes the
+section is often called a "release" or boredom breaker — and that it is much
+more than that. Cite Chapter 6 for the purposes, Chapter 5 for the definition.
+
 ## When a song needs a bridge
 
 | Song shape | Bridge needed? |

plugins/songwriting/context/pat-pattison/research/exercises.md

@@ -1,4 +1,4 @@
-# Exercises — *Essential Guide to Lyric Form and Structure* (1991) (1991) and *Essential Guide to Rhyming* (2014) (2014)
+# Exercises — *Essential Guide to Lyric Form and Structure* (1991) and *Essential Guide to Rhyming* (2014)
 
 Pat Pattison — preserves the numbered exercise series from
 *Songwriting: Essential Guide to Lyric Form and Structure* (1991)
@@ -25,7 +25,10 @@ reproducing the book.
 The exercises are not assessments. They are repetitions. The
 specific answers do not matter; the writing habit does.
 
-## *Essential Guide to Lyric Form and Structure* (1991) — Phrasing exercises
+## *Essential Guide to Lyric Form and Structure* (1991) — Phrasing exercises (Chapters 1-2)
+
+Exercises 1-4 come from Chapter 1 (phrase count and balance); exercises 5-7
+come from Chapter 2 (phrase length and speed).
 
 ### Ex 1 — Phrase division
 
@@ -62,6 +65,46 @@ right for the song?
 
 Routes to: [phrasing](phrasing.md), [verse development](verse-development.md).
 
+### Ex 5 — Label the pace effect
+
+Take four sections you are not currently working on — old drafts of your
+own, a hymnal, a poetry anthology, anything with line breaks. For each,
+mark whether the phrase lengths keep the pace **constant**, **accelerate**,
+or **decelerate**.
+
+**More than one blank is allowed.** Some sections are simply constant, or
+simply accelerate — record that. But a section can also speed up in one
+place and slow down in another, and Pattison's own sample includes one that
+does. Where that happens, mark every change and where it falls; do not force
+a single label onto a section that changes speed twice, and do not invent a
+change that is not there to make the answer more interesting.
+
+Routes to: [phrasing](phrasing.md) "acceleration", "deceleration".
+
+### Ex 6 — Complete a section two ways
+
+Write two opening phrases of your own, then finish the section twice:
+once so it **accelerates**, once so it **decelerates**. Change only
+phrase length to do it — not imagery, not rhyme.
+
+Then check the count: if dropping the final phrase would leave the
+section unbalanced, note it. Speed and balance are separate axes and a
+section can be fast and unbalanced at the same time.
+
+Routes to: [phrasing](phrasing.md) "phrase length controls speed".
+
+### Ex 7 — Contrast a whole section
+
+Write a complete section. Then continue it with a **second section built
+from shorter phrases**, choosing ideas that suit a faster pace. Then go
+back and write a **slower section with longer phrases** instead.
+
+Aim for prosody both times: the ideas should behave the way the phrase
+lengths behave. Balanced or unbalanced, whichever fits. Sing both.
+
+Routes to: [phrasing](phrasing.md) "contrasting sections by length",
+[prosody](prosody.md).
+
 ## *Essential Guide to Lyric Form and Structure* (1991) — Meter exercises (Chapter 3)
 
 ### Ex 8 — Syllable division

plugins/songwriting/context/pat-pattison/research/five-compositional-elements.md

@@ -213,7 +213,8 @@ balls (not five) are introduced sequentially:
 - Ball 3 (Chapter 3) — rhythm
 - Ball 4 (Chapter 4) — rhyme scheme
 
-The **fifth element (rhyme type)** was added in *Essential Guide to Rhyming* (2014) (2014). *Essential Guide to Lyric Form and Structure* (1991)
+The **fifth element (rhyme type)** was added in *Essential Guide to Rhyming*
+(2014). *Essential Guide to Lyric Form and Structure* (1991)
 intentionally uses only **perfect rhyme and identity** for all 44
 exercises — no family, additive, assonance, or consonance vocabulary.
 

plugins/songwriting/context/pat-pattison/research/form.md

@@ -1,12 +1,18 @@
 # Form
 
 Pat Pattison - *Songwriting: Essential Guide to Lyric Form and Structure*
-(1991), Chapter 5. Pat Pattison - *Writing Better Lyrics* (2009),
+(1991), Chapters 5-6. Pat Pattison - *Writing Better Lyrics* (2009),
 Chapter 20-21.
 
 ## Image inventory
 
-- *Essential Guide to Lyric Form and Structure* (1991), Chapter 5: no linked images.
+- *Essential Guide to Lyric Form and Structure* (1991), Chapter 5: **32 linked
+  images** (`image_rsrc31Z`-`image_rsrc32Y`), and they carry the chapter's
+  scansion and rhyme-scheme analysis the way Chapter 6's do. The prose stops at
+  dangling colons ("The first phrases play off against the rhythms, grouping
+  this way:"). **Chapter 5 has NOT been read in full** — only its bridge and
+  Song System span. Treat every claim sourced to it here as unverified until it
+  is, and read the figures when doing so.
 - *Writing Better Lyrics* (2009), Chapter 20: `image_rsrcAUG.jpg` shows a verse/chorus rhyme-column
   comparison for "Southern Comfort"; both sections lean on similar `x/a`
   alternation before the bridge arrives.
@@ -203,12 +209,21 @@ leans toward the meter the verse has already established at length. Where a
 chorus is meant to contrast with a common-meter verse, check what its
 balancing phrases are doing, not only whether the numbers differ.
 
-On how many verse phrases that is: Chapter 20 reads the verse as two complete
-common-meter systems varied by an extra stress in its last phrase, while
-[song-forms-examples](song-forms-examples.md) reads the 1991 treatment of the
-same song as seven phrases with the closing eighth deceptively withheld. Those
-are two readings of one verse in two books, not a contradiction to resolve —
-cite whichever book is in hand and do not merge the counts.
+On how many verse phrases that is: **the two books agree at eight, and the
+apparent standoff was our error, not Pat's.** *Writing Better Lyrics* (2009),
+Chapter 20 reads the verse as two complete common-meter systems — eight lines —
+varied by an extra stress in its last phrase. *Essential Guide to Lyric Form
+and Structure* (1991), Chapter 6, read with its figures, sets the same verse out
+as eight phrases rhyming `x a x a x a b b` and calls the last phrase a
+Deceptive Closure.
+
+Same structure, two vocabularies: what 2009 describes as an extra stress in the
+final phrase, 1991 describes as that phrase refusing the three-stress
+common-meter close the first seven have set up. Nothing is withheld in phrase
+*count* — the eighth phrase arrives and deceives. An earlier revision of
+[song-forms-examples](song-forms-examples.md) read it as seven phrases with the
+eighth withheld; that reading is corrected, and there is no longer a reason to
+keep the counts apart.
 
 Useful revision moves:
 
@@ -515,23 +530,31 @@ larger form roles and song systems.
 
 ## Bridge — three functions
 
-*Essential Guide to Lyric Form and Structure* (1991), Chapter 5 names three jobs a bridge can do. Diagnose which the song
-needs before drafting.
+*Essential Guide to Lyric Form and Structure* (1991), **Chapter 6** names three
+jobs a bridge can do. Diagnose which the song needs before drafting. (Chapter 5
+gives a separate five-point account of what a bridge *is* — see
+[bridge](bridge.md); do not merge the two lists.)
 
 | Function | Effect | When |
 |---|---|---|
 | 1. Break monotony | Disrupt the verse-chorus repetition | The form has run V/Ch twice and risks fatigue |
-| 2. Create a different-size song system | Insert a non-matching unit between matching units | The song's symmetry needs interruption |
+| 2. Create a different-size song system | Change the size of the final SYSTEM, not the bridge's own phrase count — shorter in verse/chorus, longer in verse/refrain and AABA | The song has run same-size systems and their symmetry needs interruption |
 | 3. Provide a new perspective | Shift POV, tense, or speaker | The chorus has stated; the bridge reframes |
 
+Function 2's direction depends on what the bridge groups with: in verse/chorus a
+short bridge shrinks the last system so the final chorus arrives early, while in
+verse/refrain and AABA the bridge plus the final verse make a system *longer*
+than the verse-only ones before it. Pat's word is **different**, not shorter.
+See [bridge](bridge.md).
+
 A bridge that serves only one function may still work. A bridge that
 serves none should be cut — verse-chorus alone is enough.
 
 The bridge MUST differ from verses where it counts. The first line
 matters most: a bridge that opens like a verse signals "another verse"
 instead of "something new."
 
-> "A bridge isn't a verse." — Pat (*Essential Guide to Lyric Form and Structure* (1991), Chapter 5)
+> "A bridge isn't a verse." — Pat (*Writing Better Lyrics* (2009), Chapter 23)
 
 ## Four building levers — the candy bar discipline