| Sequential | All pitches in the set must sound before any can repeat (with octave displacement allowed). Ensures chromatic completeness within each cycle. Each pattern parameter controls the spread of octave displacement. | Schoenberg, twelve-tone technique (1923). Serial exhaustion — aggregate completion as structural principle. Extended here to any pitch set, not just the chromatic. |
| Spiral | Spirals outward from a center pitch, alternating above and below in expanding intervals. Creates a widening melodic cone. The center pitch is configurable. | Xenakis, arborescences — tree-like branching pitch structures (Evryali, 1973). Spiral motion as generative principle. |
| Fibonacci | Next pitch determined by Fibonacci interval sequence (1, 1, 2, 3, 5, 8, 13, 21 semitones). Direction reverses when pitch boundaries are reached. Pattern parameter scales the interval magnitudes. | Fibonacci sequence. Bartók’s intervallic proportions. Lendvai’s golden section analyses of Bartók’s pitch structures. |
| Register | Systematic traversal through octave registers — plays through all pitches in one octave before moving to the next. Traversal order varies from sequential to shuffled based on the pattern parameter. | Messiaen’s modes of limited transposition — systematic register exploration. Registral stratification in Webern. |
| Probabilistic | Weighted probability transitions where closer intervals have higher probability. Pattern parameter (Leap) shifts the bias from stepwise motion toward large leaps. | Xenakis, Markov chains in music (Analogique A, 1958). Hiller & Isaacson, Illiac Suite (1957) — first computer-generated composition using Markov chains. |
| Golden Ratio | Divides the pitch set at the golden ratio point (φ ≈ 0.618), creating two subsets. Alternates between subsets, cycling through each independently. Pattern parameter adjusts the split point. | Golden section applied to pitch-space partitioning. Proportional subdivision as melodic generator. |
| Interference | Constructs a pitch set from the interference of two interval generators. All pitches satisfying (root + n×A + m×B) mod 12 are collected, producing combination-tone-derived scales. Pattern parameter adjusts the generating intervals. | Grisey and Murail, spectral music (Partiels, 1975). Combination tones and resultant pitch sets from interval interference. |
| Mirror | Alternates between original pitches and their inversion around a configurable axis pitch (2×axis − pitch). Creates palindromic pitch contours. Pattern parameter sets the axis. | Serial inversion technique (Schoenberg, Webern). Symmetric pitch structures — Bartók’s axis of symmetry system. |
| Permutation | Systematic reordering of the pitch set through circular rotations, retrograde, retrograde-inversion, or all transformations. Pattern parameter selects the variant. | Combinatorial twelve-tone technique (Babbitt). Permutation groups applied to pitch ordering — exhaustive traversal of set transformations. |
| Corpus | Pitch transitions learned from a statistical pitch-class transition model. The 12×12 transition matrices bias note choice toward musically natural successions. Context parameter biases toward ascending motion, stepwise motion, or large leaps. Falls back to Probabilistic behavior if no corpus data is loaded. | Statistical learning of pitch transitions from symbolic-music corpora. |
| Arpeggiator | Classical arpeggiator over the active pitch set with configurable order — up, down, up-down, down-up, random, and converging/diverging variants. Pattern parameter selects the order. Useful under Layers > Monophonic for single-line sequencing. | Arpeggio as melodic primitive. Sequencer arpeggiator tradition (Roland TB-303, classical synth design). |
| Harmonic Gravity | Pitch choices biased toward chord-tone targets defined by the Harmonic Conductor. Notes resolve toward the active chord’s strong tones (root, third, fifth) over time, with strength controlled by the pattern parameter. Falls back to Probabilistic when no chord vocabulary is active. | Tonal gravity (Lerdahl, Tonal Pitch Space). Schenkerian prolongation — surface notes pulled toward structural tones. |
