Kid mode 🧒

This page is Prose-to-staff audit, full album. It is one of the projects Brandon built and put online. The grown-up details are below, tap Grown-up mode to read them the normal way.

BELIEVEYOUME, Shiner 2025, all 10 songs, v4

Prose-to-staff audit, full album

Every card's chord symbols, scale-degrees, Roman numerals, inversion figures, and bar-counts checked by interval math against the card's own tab and MIDI box. Songs 1-2 hand-verified, songs 3-10 swept at 2 pages per agent to match a page-by-page human pass.

58hard errors
14overclaims
56consistency
0 / 58 defendedadversarial panel

Every hard error survived a defend-the-book referee pass. The deep re-audit's referees rejected 4 auditor findings as defensible, so those are excluded here. Song 1 deep dive, believeyoume-critique-check.

Root cause, and a free win. The book's machine-read data (tab + MIDI/audio box) is reliable, the prose and some labels drift off it. One slice of the "errors" is a CSS artifact: the .key-line / .sec / .stave-label classes carry text-transform: uppercase, so a correct lowercase Fm renders as FM and a correct i renders as I. One CSS rule fixes every minor-chord and minor-tonic label at once, the rest are genuine per-card text edits.

Per-song scoreboard

#SongPagesHardOverConsRead
1Asleep In The Trunk1-13833PDF
2The Alligator14-26335PDF
3The Mutiny27-3333PDF
4So Far So34-42615PDF
5My Mirror Hates Me43-50227PDF
6Endless Summer51-6066PDF
7Lazarus61-75517PDF
8Not Too Much76-84518PDF
9Broken Satellites85-931015PDF
10Jackie94-1061027PDF

Every finding, by song

1 Asleep In The Trunk pp.1-13 8 hard3 over3 cons Read PDF →

p3
"without ever stating its root"
→ omits the THIRD, not the root (cell is 5 + ♭7 + root F)
p5
"F5add♭9"
→ F5(add ♭6): the ringing D♭ is the ♭6, the ♭9 (G♭) never sounds
p8
caption "FM / FM7"
→ source says Fm/Fm7, the all-caps CSS makes the m read as major, CSS fix
p8
"102-139" / "nearly forty bars"
→ 102-146 / 45 bars (tab + MIDI agree)
p9
"bass-on-F dominant"
→ bass-on-F pedal: F is the tonic
p11
"♭7+1 of F = Fm7 color"
→ ♭7+5 = F5(add ♭7): C is the 5th not the root, no A♭ present
p12
"the M3 finally voiced" (A♭)
→ the ♭3: A♭ is the minor third of F
p12
"confirming F major"
→ the raised major 3rd over the F-minor field, not a key change
p3
"F-Aeolian power-of-three"
→ a 1-5-♭7 cell cannot prove Aeolian, use the staff Fm7(no3)/i7
p7
"F7(no3)" as a chord
→ a momentary F7 outline (bass ♭7 + vocal raised 3rd), not a chord
p12
"F major Mixolydian or F minor moves"
→ I↔♭VII root motion, third withheld
p9-10
outro tonic "V → I" / "resolved I"
→ source authors V → i / resolved i, all-caps CSS flips the case, CSS fix
p11
F5 labeled "I" in a minor card
→ tonic, no third
p13
tab caption "IV...I" vs staff "iv...i"
→ one consistent set of numerals

2 The Alligator pp.14-26 3 hard3 over5 cons Read PDF →

p17
"B♭6/9" for the rhythm gtr alone
→ B♭6: no 9th present, the 9 (C) arrives from the vocal
p22
C labeled "I (full triad)"
→ C is the IV of G, not the tonic I
p19-20
"rootless dyads"
→ third-withholding open voicings: G+A+D is rooted and three notes
p21
"bIII-of-the-bIII"
→ ♭VI of G (♭III of ♭III yields D♭, not E♭)
p20
"foreign keys"
→ C major is the diatonic IV, only E♭ is borrowed (♭VI)
p17
"G-major polychord"
→ Gmaj7 color tones (B + F♯ + C = 3rd, 7th, 11th), not a full G triad
p14-15
intro staff "I (G no-3)"
→ open Drop C field = G9sus4(no3), the prose says no key declared yet
p15
bass entry "A♯ → B → G" (3 notes)
→ G♯ → A♯ → B → G (4 notes), the MIDI box has the dropped G♯
p16-18
slash chord "B♭6/G"
→ B♭6 with open G: the bass is B♭1, G is an internal ringing string
p16-17
"rhythm gtr withholds the M3"
→ its own audio shows B at 0.81s in the rhythm stem, needs a leakage footnote
p21
source reverts to the T7 export
→ the song made the audio-truth MIDI the authority, the break card backslides

3 The Mutiny pp.27-33 3 hard3 cons Read PDF →

p31
B♭sus4(C,D,G)
→ Not a sus4: a B♭ sus4 requires the 4th (E♭) and must exclude the 3rd, yet the parenthetical names D, the M3 of B♭ (B♭→D = 4 semitones), and lists no E♭ at all. The notes C, D, G are 9, M3, and 6/13 over B♭, a B♭(add9 add13) / B♭6/9-type voicing, not a sus4.
p31
B♭aug(C,E♭)
→ Not augmented: an aug triad needs M3 (D) and ♯5 (F♯); the parenthetical names C and E♭, which over B♭ are the 9 (B♭→C = 2) and the 4/11 (B♭→E♭ = 5). B♭+C+E♭ = root+9+4, no third and no ♯5. These E♭/C are the bar-95 vocal pitches in the card's own MIDI box, not an augmented chord.
p32
B♭ + flat-5 (F♯4)
→ F♯ is not the flat-5 of B♭. B♭→F♯ = 8 semitones = ♯5/♭6; the flat-5 of B♭ is E (F♭), 6 semitones up. The card itself frames the verse as a B♭↔G♭ flicker, so F♯4 = G♭4 is the ♭6, not a flat-5.
p28
Gm/B♭ (G chord with B♭ in the bass / first inversion, sitting "on B♭3")
→ Gm (root position), the card's own note stack lists G2 as the LOWEST sounding note, so the root is in the bass; a /B♭ slash and "on B♭3" both require B♭ to be lowest, which contradicts the stated G2
p28
G/B♭ INV-1 (first inversion, B♭ in bass)
→ G(no5) root position, the stated voicing (G+B♭+B♭) has G as the lowest note, so it is root position, not first inversion (first inversion would need the 3rd, B♭, in the bass)
p27
G♭5 (power chord, root + 5th, no 3rd)
→ G♭ major no-5 dyad / first inversion (G♭ + B♭, root + M3, no 5th), per the dedicated bar-18–22 verse card on p.28 the chord is "G♭(NO5, B♭+G♭ DYAD)" = G♭ maj 1st-inv; a G♭5 power chord would require D♭, which is absent. (The drop also lands at bar 20, not the bar-18 voice entrance, where p.28 shows the Gm/B♭ chord.)

4 So Far So pp.34-42 6 hard1 over5 cons Read PDF →

p37
E♭dim (diminished chord on E♭)
→ Chromatic transitional cluster, no clean chord label. The card's own MIDI box names the notes E3, A♯3, C♯4, D4 (no E♭/D♯ present; lowest note is E3, not E♭) and explicitly states the cluster 'has no clean chord label, reads as a chromatic transitional figure.' Relative to an E♭ root the four pitches give intervals {1,7,10,11}, which is not a diminished triad (root–♭3–♭5 = 0,3,6).
p40
Am/E = A minor in first inversion
→ Am/E = A minor in SECOND inversion (i6/4). The card's own triad is A3+C4+E4 and the bass is E2; E is the 5th of A minor, and a 5th in the bass is second inversion (6/4), not first inversion (which requires the 3rd, C, in the bass).
p40
E in the bass is the leading tone of D minor
→ E is scale degree 2 of D (D->E = 2 semitones = major 2nd), not the leading tone. The leading tone of D minor is C# (degree 7). The card's own bass label even reads '2 of D', directly contradicting the prose's 'leading tone'.
p41
Am-add♯9 (added #9)
→ Am add9 (the B over A is a natural M9, 2 semitones above the octave; a #9 would be B♯/C, which is already present as the minor 3rd). The card's own prose and MIDI box both say “added M9,” so the #9 header label is the drift.
p41
Am/E = first inversion
→ Second inversion. E is the 5th of A minor (A-C-E), and a 5th in the bass is second inversion (6/4), not first inversion. First inversion would put C (the 3rd) in the bass.
p41
Am = ii in D major
→ Am is not ii in D major. ii in D major is built on scale degree 2 (E) = E-G-B (Em). The A-C-E triad sits on scale degree 5 of D, so in D major it would read as a minor v, not ii. (The v-in-D-minor reading is correct.)
p42
I⁷ (uppercase tonic)
→ Uppercase I⁷ asserts a major tonic third that is not sounding. The chord is only root + ♭7 (C+D), explicitly “no upper voices” / “no chord above,” so no major 3rd is present to justify uppercase. A no-3 root+♭7 dyad cannot be cased as major.
p37
E♭dim4 (diminished-with-4 chord on E♭)
→ No coherent chord quality. 'dim4' is not a valid quality, and the figure is the same 4-note chromatic cluster (E3, A♯3, C♯4, D4) that the card's MIDI box says has no clean chord label. Should read as a chromatic lead-in figure, not a labeled E♭dim4 chord.
p40
i6 over the V root
→ With the V root (E, the 5th of Am) in the bass, the tonic figure is i6/4, not i6. The figure 'i6' denotes the 3rd (C) in the bass; here the 5th (E) is in the bass, which is the six-four. The phrase 'over the V root' (E = the 5th) is itself inconsistent with the simultaneous 'first inversion' claim.
p41
i⁶
→ i⁶₄. With the 5th (E) in the bass the triad figure is 6/4, not 6. The bare ⁶ figure denotes first inversion (3rd in bass), which contradicts E being in the bass.
p42
three notes: C1 + D1 + D2
→ The card's own tab shows only two sounding strings (low-C string open = C1, G string fret 7 = D2); the low-C string is at fret 0, not fret 2, so D1 is not in the tab. The bar annotation agrees: “C1+D2 held.” The caption's added D1 contradicts the same card's tab and annotation.
p42
C2 (header)
→ C1. The low-C (bottom) string open in Drop C bass is C1, and the card's own bar annotation states “the C1 is the new pitch the intro didn’t have.” The header’s “C2” disagrees with the annotation and the tab on the same card.

5 My Mirror Hates Me pp.43-50 2 hard2 over7 cons Read PDF →

p43
a major 7th apart
→ a major 9th apart (14 semitones = octave + major 2nd; a major 7th is 11 semitones, contradicting the card's own printed 14)
p44
D3 + E3 (open D-string + open B-string, standard tuning)
→ D3 + B3, an open B string in standard tuning (E A D G B E) sounds B3, not E3; the tab itself plays the B-string-open and D-string-open, so the upper guitar dyad is D + B, not D + E
p47
chromatic descent across the octave, eight half-steps
→ Eight notes spanning a perfect 5th (Bb3 down to Eb3 = 7 semitones), i.e. SEVEN half-steps between 8 notes, not a full octave and not 'eight half-steps.' The card's own MIDI box lists exactly Bb3/A3/Ab3/G3/F#3/F♮3/E3/Eb3 (8 pitches), which span only a perfect 5th, contradicting 'across the octave.'
p48
E MAJOR (M3+M7+5)
→ The sounded notes D#+G#+B contain no E and spell a G#m triad (G#-B-D#). Over E center these are the 3rd/5th/7th of an Emaj7 only if an E root sounds beneath; but at this moment the bass is walking D/B/G/A, not E, so no E-major chord is actually sounded. Naming the rootless G#m stack 'E MAJOR' asserts a root that is not present.
p44
B-STRING OPEN (... E3)
→ B-string open = B3; to sound an E in the upper register in standard tuning you play the high e-string, which the tab shows blank, the staff/tab label naming the open B string as E3 is internally inconsistent with the tab's own fret positions
p45
DROP C (C G C F A D LOW → HIGH)
→ STANDARD TUNING (E A D G B E), the card's own header states Standard tuning and p46's MIDI box concludes "no C usage anywhere, so this is the only BELIEVEYOUME song NOT in Drop C"; the Drop C tab frame contradicts the card's stated tuning and MIDI truth
p46
DROP C (C G C F LOW → HIGH)
→ STANDARD TUNING (E A D G B E), same card's MIDI box states "Bass low note E1 and rhythm guitar low note E2 confirm Standard tuning ... no C usage anywhere, so this is the only BELIEVEYOUME song NOT in Drop C"; the bass tab is framed in Drop C (low string C, fret 4 = E1) to render E1, which only works in the wrong tuning
p46
I – V – ♭III – ♭VII
→ i – v – ♭III – ♭VII, the card's stated center is E MINOR, so the tonic E must be lowercase i, not uppercase I (and the B is a bare root with no third sounded, so v is the defensible minor-key dominant)
p47
quarter notes
→ Half notes. The same card's MIDI box (p48) reads the bass as 'E1 (beat 1) → B1 (beat 3) → G1 (next bar beat 1) → D2 (next bar beat 3) in clean half-note arpeggiation', one note every two beats = half notes, not quarter notes. Prose rhythm value disagrees with the card's own machine-read data.
p48
DROP C (C G C F) bass tuning
→ Standard tuning (E A D G). The same card's own header states 'E CENTER, STANDARD TUNING,' and the prior card for the same song (p47) tabs the bass as 'STANDARD TUNING (E A D G LOW → HIGH).' The 'DROP C (C G C F)' tab caption contradicts both the page-48 header and the page-47 card for the identical song; bass tuning does not change between chorus and bridge of one song.
p50
descent tail ordered E3 → C3 → B2 (C before B)
→ E3 → B2 → C3 (B before C), per the card's own measure-aligned staff ("vocal 5 low (B)" precedes "vocal ♭6 (C)") and the prose ("E3 → (B2) → C3")

6 Endless Summer pp.51-60 6 hard6 cons Read PDF →

p51
F + A natural over implied B♭ = 5 + M3
→ F + A natural over B♭ = 5 (P5) + M7. A natural is 11 semitones above B♭ (major 7th); the M3 of B♭ is D, not A. The card's own page-52 staff labels this identical F+A♮ voicing 'M7 over B♭' and the page-52 prose calls A natural 'the major 7th of B♭', so 'M3 above implied B♭' both fails the interval math and contradicts the same card's authoritative reading.
p54
B = ♭9 / leading-tone of B♭
→ B = ♭9 (♭2) only, NOT the leading tone. B is one half-step ABOVE B♭ (1 semitone = ♭2/♭9). The leading tone of B♭ is A (the M7, a half-step BELOW the tonic, which resolves UP to B♭). A note a half-step above the tonic is the ♭9 and resolves down; it can never be the leading tone. The "♭9" half of the label is correct; "leading-tone" assigns the wrong scale degree (7th) to a sounded ♭2.
p56
bar 112 bass = B♭2, Roman numeral I
→ E♭2 = IV, the bass tab plays fret 3 on the C2 string (C2 open=36, +3=E♭2); a B♭2 would require fret 10. E♭ over the B♭ center is a perfect 4th, so this is IV, not I.
p56
bass pattern F → B♭ → E♭ → B♭ = V → I → IV → I (plagal-and-back to I)
→ F → E♭ → E♭/F → E♭ = V → IV → IV(+V) → IV. The tab's bars 110 and 112 are both E♭2 (C2-string fret 3 = IV), not B♭ (I). The cycle does not return to I; it rests on IV, so the 'plagal-and-back to home' reading is built on a note that is not played.
p56
rhythm guitar = B♭5 power chord (B♭2+F3+B♭3) at fret 3
→ E♭5, not B♭5. On Drop C the guitar tab's fret-3 barre across the dropped low strings (C2/G2/C3) spells E♭2+B♭2+E♭3 = an E♭-rooted power chord (root+5+oct on E♭). A B♭ root would require fret 10 on the dropped C string, not fret 3. The sustained floor is E♭ (IV), not the home B♭ (I) the prose claims.
p58
E♭-sus2 (E♭-rooted suspended chord)
→ A single vocal E♭ (the 4th of B♭) over the unchanged B♭5 bed. The card's own prose states 'The chord floor never changes, B♭5 with the third left out' and the bass row is I (B♭ root). E♭ is neither the root nor the bass of the sounded harmony; a lone melodic 4th over a power chord is inflated into a full E♭-rooted sus2 chord on the wrong root. Correct reading: B♭5 with a vocal 4th (E♭) suspended on top.
p53
B♭/D (B♭ chord with D in the bass)
→ B♭5 (no slash), D is the VOCAL top note (M3), not a bass note. The same card's MIDI box states the bass is silent through bar 28 "without any low end," so the lowest sounding note is B♭ (the power-chord root B♭2), never D. A slash chord X/Y requires Y as the lowest sounding note; the slash bass attribution contradicts the card's own data. (Recurs at "on / B♭/D / M3 (resolves)".)
p56
bass section header ends on B♭2 = I
→ ends on E♭2 = IV, bar 112 of the bass tab is C2-string fret 3 = E♭2, not B♭2. Final function is IV, not I; disagrees with the same card's tab.
p55
bass pattern (heading prose) ends B♭2 = I
→ the tab's final cycle note is E♭2 (IV), not B♭2 (I); this 5-element heading restatement carries the same phantom return to I as the rest of the card.
p58
B♭/D (D in the bass)
→ B♭5 with vocal D on top (melody M3, not a bass note). The card's own bass row reads I = B♭ root and the rhythm gtr is B♭5, so the lowest sounding note is B♭, not D. The slash should be B♭5 (no inversion), the D is the top melodic vocal note, not the bass.
p59
vocal pitches Gb / F / Eb labeled "voice=5" (5th) over Gb5(bVI), F5(V), Eb5(IV)
→ the 5th of Gb is Db, of F is C, of Eb is Bb; the vocal staff should print Db / C / Bb, not the chord roots Gb / F / Eb. The same card's MIDI box (p.60) verifies "vocal D ♭ / C / B ♭, the 5th of each descending root," so the page-59 staff note-names contradict both the "voice=5" label and the song's own MIDI box.
p60
IV chord = Eb/G (IV6, first inversion, G in bass), dyad printed as C+G
→ the printed dyad C+G is a C-to-G perfect 5th, not an Eb chord (Eb triad = Eb-G-Bb; C is not a chord tone of Eb). And the slash Eb/G names G as the lowest note, but the lowest note of a C+G dyad voiced C-below-G is C. The dyad C+G disagrees with the symbol Eb/G and its IV6 bass figure on the same card.

7 Lazarus pp.61-75 5 hard1 over7 cons Read PDF →

p68
3 of A♭
→ 6 (or 13) of A♭, F is a major 6th above A♭; the 3rd of A♭ is C
p69
drops a tritone to A♭5
→ drops a minor 3rd to A♭5 (B=11, A♭=8, descending 3 semitones = minor third, not a tritone; the card's own parenthetical even says "B → A♭ down a minor 3rd")
p71
D♭ = ♭5 over root A♭
→ D♭ is the 4th of A♭ (A♭→D♭ = 5 semitones, a perfect 4th); the ♭5 of A♭ is D♮ (6 semitones). The dyad is quartal, the card's own prose says 'Each dyad is a 4th or 5th, quartal', so D♭+A♭ is a 4th/5th, not a ♭5.
p71
G-rooted chord = ♭VII in the A♭ outro
→ Against the A♭ reference the same staff prints (A♭(no5)), G is the leading tone: A♭→G = 11 semitones = major 7th, so a G root is VII, not ♭VII. ♭VII of A♭ is G♭ (10 semitones), a different note. Off by a semitone.
p75
5, 9, 5, 9 of A♭ and B♭ roots
→ The degree string 5,9,5,9 does not fit the notes in order. B♭ over A♭ = 2 (a 9th), never a 5th; B♭ over B♭ = root. G over A♭ = 11 (M7) and over B♭ = 9 semitones (a 13th/6th), never a 9th. Only F→5 (of B♭) and C→9 (of B♭) are defensible. The actual degrees for B♭, C, F, G are 9, 9(of B♭), 5(of B♭), 13/M7, i.e. 9, 9, 5, 13, not 5, 9, 5, 9.
p75
the lead never sounds a third
→ The card's own lead pitch classes are B♭, C, F, G. C is the M3 of A♭, the very chord the card says the song commits to as A♭ major (A♭+4 semitones = C), and G is the M3 of E♭, the ♭III body the card names. The lead therefore does sound thirds of chords in play, so the asserted 'never sounds a third' overclaims beyond the card's stated notes.
p61
E♭/G, IV (1st inv)
→ E♭ (root position). The card's MIDI box bass trace gives the bass under this chord as E♭2 (D#2), and the prose itself says G is 'in the upper voice'. A slash chord X/Y and a '1st inversion' figure both require the named bass (G) to be the LOWEST note; with E♭ in the bass and G on top this is E♭ in root position, so 'E♭/G' and 'IV (1st inv)' both contradict the card's own data.
p62
C/E = i^6 (first-inversion minor tonic)
→ I6 (uppercase). C/E is a C MAJOR triad (C-E-G) with E natural in the bass, which the card's own prose states ('colors the chord as C MAJOR'). A minor-tonic first inversion (i6) requires E-flat in the bass, spelled C/E♭. With a major triad and E natural in the bass the Roman must be uppercase I6, not lowercase i^6.
p68
BARS 36–39 IN HTML GRID = BARS 73–96 IN 06-02 GRID (a 24-bar cycle)
→ Inconsistent span: 36–39 is 4 bars but 73–96 is 24 bars; the two ranges cannot be the same aligned 24-bar section
p70
A♭5 = I
→ A♭5 = ♭VI (the chord is A♭-rooted per the card's own "A♭5" and "E♭+A♭ = 5+root"; A♭ over a C-minor center is the b6 scale degree = ♭VI, not the tonic I, which would require a C root)
p71
A♭ power-dyad with no 5th
→ The card's own MIDI box gives the dyad as E♭+A♭ (D♯+G♯). A♭→E♭ = 7 semitones = a perfect 5th, so the 5th IS present; labeling it '(no5)' denies a note listed in the same card's MIDI data.
p72
upper note spelled D♯ (A♭+D♯)
→ The staff body and prose unanimously call this body a tritone ('A♭ with D', 'tritone'); A♭+D = 6 semitones = tritone, but A♭+D♯ (=E♭) = 7 semitones = a perfect 5th. The D♯ spelling turns the card's tritone into a 5th, contradicting the staff body A♭+D.
p74
Tab frets 6 / 3 / 8 / 6 printed under chord labels A♭5 / E♭5 / B♭5 / A♭5 (bass row ♭VI/♭III/♭VII/♭VI)
→ In Drop C (low C2), the labeled A♭5/E♭5/B♭5/A♭5 require frets 8 / 3 / 10 / 8. The printed 6 / 3 / 8 / 6 sound F♯5 / E♭5 / A♭5 / F♯5, only bar 2 (E♭5, fret 3) is right. Bars 1 and 4 (fret 6) name F♯/G♭5 not A♭5; bar 3 (fret 8) names A♭5 not B♭5. The tab frets contradict the chord symbols, the bass Roman row, and the vocal 'G3 = M7 of A♭' anchor (which only holds over a real A♭). Tab should read 8 / 3 / 10 / 8.

8 Not Too Much pp.76-84 5 hard1 over8 cons Read PDF →

p78
♭iii⁶
→ iii⁶
p82
Bb add9 (+9)
→ Bb6 (no 3rd), the color tone present is G, the 6th/13th, not the 9th; there is no C in the voicing (tab Bb–F–G low→high)
p84
A♭ → E → E♭ → D (bass walk starts on A♭)
→ Bb → E → Eb → D (the tab's first note is G-string fret 3 = Bb/A#, not Ab)
p84
♯V → ♭VI ♭VI ♯V (over the four bass notes Bb, E, Eb, D in Ab)
→ II → ♭VI V ♯IV(♭V): Bb=2/II not ♯V; Eb=perfect 5th/V not ♭VI; D=tritone ♯IV/♭V not ♯V
p84
♯V! (tritone from Ab) for the final D-major
→ ♯IV / ♭V, a tritone above Ab is D = ♯IV/♭V (6 semitones); ♯V is E♮ (8 semitones), a minor sixth, not a tritone
p82
Ab add9
→ Ab5(add9) / Ab(no3), the voicing is Ab–Eb–Bb (root-5-9) with no 3rd (no C), so 'add9' asserts a major triad that is not sounded; it is a sus/power voicing with a 9
p76
II6 (no root) / I6 (no root)
→ The card's own stacks are complete first-inversion major triads with the root present: B♭/D = D+F+B♭ contains the root B♭ (top note), and A♭/C = C+E♭+A♭ contains the root A♭ (top note). The '(no root)' tag contradicts the stated stacks; the figures should read simply II6 and I6 (root present, just not in the bass). The card's later staff pass even drops '(no root)' and labels them plain II6 / I6, disagreeing with itself.
p79
P5 / B♭ (held) labels the held vocal note over B♭5 as B♭
→ P5 / F, the held vocal note is F4 (per the card's MIDI box), not B♭; F is the P5 of B♭
p79
M3 / A♭ (vocal label over A♭5)
→ M6 / F, the held vocal note over A♭5 is F4 (M6 of A♭), which the card's own prose states ('over A♭5: F = the major 6th'); A♭ is the root (P1), and the held note is F not A♭
p82
C/E=I⁶ and ♭III⁶ while Ab=I and Bb=II in the same row
→ One tonic per row: if C is I (C/E=I⁶), then Ab=♭VI and Bb=♭VII; if Ab is the field-tonic, then C=III(♮) not ♭III and Ab=I. The row mixes a C-center and an Ab-center reading
p82
C/E (plain C triad, first inversion)
→ Cmaj7/E, the rhythm-guitar voicing (A-string fret 2 = B) sounds the major 7th, so both C/E voicings are Cmaj7, not a bare C major triad
p84
A♯1 (≈A♭ area)
→ A#1 / Bb1, G string fret 3 in D-standard = Bb, a whole step above Ab; it is not 'the A♭ area'
p83
B♭add9 (bar 51)
→ B♭add6/9 (or B♭6/9), notes Bb+F+C+G include G = the 6th, which the card's own MIDI box names; 'add9' alone omits it
p83
C/E (plain C major triad)
→ Cmaj7/E, the voicing C+G+E+B contains B (major 7th), as the card's own MIDI box states; it is not a plain triad

9 Broken Satellites pp.85-93 10 hard1 over5 cons Read PDF →

p88
M3 / vi
→ m3 / vi (vocal note over C5 is E♭, the minor third above C; that m3 is exactly what makes the C5 read as the C-minor submediant 'vi'. M3 above C is E-natural, which would make C major and is foreign to the E♭ center, it contradicts the 'vi' printed in the same slot)
p90
♭VI
→ IV, A♭ is the perfect 4th of E♭ (5 semitones, diatonic degree 4); ♭VI of E♭ would be C♭. With the added M7 (G) it is A♭maj7, still rooted on degree 4.
p90
V
→ vi (or chromatic VI), C is the major 6th of E♭ (9 semitones, degree 6); the V of E♭ is B♭, not C. With the added M3 (E) it is C major = chromatic VI, never V.
p90
♭V
→ V, B♭ is the perfect 5th of E♭ (7 semitones, degree 5), the genuine dominant; ♭V of E♭ would be B♭♭/A. Labeling the real dominant ♭V is wrong.
p90
III ♭VI V ♭V
→ III IV vi V, the bass-row degree string repeats the chord-walk errors: A♭=IV (not ♭VI), C=vi (not V), B♭=V (not ♭V) over the stated E♭ center.
p89
M5 of C
→ P5 of C, G above C is 7 semitones, a perfect fifth; there is no interval "M5." (G is correctly the M3 of E♭.)
p91
M7 (vocal scale-degree of the held D over the Dm chord, syllable "clo-")
→ root, the held D over a D-minor triad is the root (0 semitones), not the major 7th; D=M7 only over the E♭ chord. The card's own page-92 prose says verbatim "the same held D becomes the root," so the M7 label on the Dm bars contradicts both the interval math and the card's own text.
p93
E♭6/9
→ E♭6/maj7 (Eb6 add M7), cluster is C+D+Eb+G = root + M3 + 6 + M7; there is NO 9th (F absent). A 6/9 requires both the 6 (C) and the 9 (F); F never sounds, so 6/9 is wrong.
p93
E♭6/9
→ E♭6/maj7, same cluster C+D+Eb+G has no 9 (F); D is the major 7th of Eb, not the 9.
p93
the D (9) ... E♭6/9
→ D is the M7 of Eb (11 semitones), not the 9. The 9 of Eb is F, which this voicing explicitly REMOVES, so the result cannot be a 6/9. It is Eb6/maj7. The same card elsewhere correctly calls D 'the maj7 of Eb,' contradicting 'the D (9).'
p89
sus on the B♭ chord
→ 5th of B♭, F is 7 semitones above B♭, the perfect fifth and a chord tone of the B♭5 power chord (MIDI gtr = F + B♭); a suspension on B♭ would be E♭ (sus4) or C (sus2), not F.
p85
walk from A♭ area to D
→ walk from A♯/B♭ area to D, the listed notes are A♯1→A♯2 (= B♭), not A♭; A♭ is a whole step below B♭ and is nowhere in the card's own MIDI note list
p86
OPEN F-STRING + G + B♭ (tab heading); printed grid voices C-string fret 5 = F, F-string open = F, A-string fret 1 = B♭, G-string blank
→ The printed tab grid contains no G (G-string is empty and the A-string is fret 1 = B♭, not fret 5), so it voices F + F + B♭ only, it omits the G that the same card's MIDI box lists as one of the three sustained pitch classes (F, G, A♯=B♭)
p88
CADENCE (BARS 70–74)
→ Bar window disagrees with the same card's own data: the chart heading says 'BARS 67–73' and the descriptive sequence places C5 at bars 71–72 and B♭SUS2 at bar 73 with the E♭ (I) resolution arriving only 'BEFORE THE CHORUS RETURN' (i.e. after bar 73), never inside 67–73. The cadence cannot be 'BARS 70–74' and 'BARS 67–73' on one card; the bar numbering is internally inconsistent.
p90
♭I + tritone
→ I + tritone, the chord root is E♭, the stated tonic = scale degree 1 = I; a tonic root cannot be flatted to ♭I. The same card's analysis table correctly reads "I + tritone."
p93
I (root+M3+5+6+9)
→ I (root+M3+6+M7). The staff label claims a 5 (Bb) and a 9 (F) that are absent and omits the M7 (D) that is present. The card's own MIDI box states the pitch classes are 'exactly C, D, D♯(=E♭), G', no Bb, no F.

10 Jackie pp.94-106 10 hard2 over7 cons Read PDF →

p97
vocal ♯4 (F♯)
→ vocal ♭7 (F♯), F♯ is 10 semitones above A♭ (a minor 7th, enharmonic G♭); the ♯4/tritone of A♭ is D natural, not F♯
p97
F♯3 = the ♯4/tritone of A♭ (the Lydian color)
→ F♯3 over A♭ = ♭7 (minor 7th), not the ♯4/tritone; the bridge's Lydian ♯4 is D natural (the card states this on p.98), so F♯ cannot be that same color
p98
F♯ over A♭ = ♯4 / tritone (the Lydian color)
→ F♯ over A♭ = ♭7 (minor 7th); the tritone/♯4 of A♭ is D natural (the same card names the bridge ♯4 as 'D natural'), so the F♯ here is a different, non-Lydian color
p99
E♭sus4 (root + M3 + 4 of E♭)
→ E♭add4 / E♭(add11), a sus4 REPLACES the 3rd; this stack keeps the major 3rd (G) AND adds the 4th (A♭), so it cannot be a sus4. The card's own words 'root + M3 + 4' and the MIDI box PCs (D#=E♭ + G + G#=A♭) both confirm the M3 is present.
p99
A♭/E♭ inversion
→ Not an A♭ chord at all. An A♭ triad is A♭–C–E♭; the stack (E♭ + G + A♭) has G, not C, so there is no A♭ chord in any inversion. Read off E♭ it is E♭add4; read off A♭ it is A♭5(maj7) / A♭(no3,maj7), never A♭/E♭.
p101
arpeggio degrees: ♯4 / 3 / 9 / 5 / -2 / root
→ Only ♯4 (D) is right. Over A♭ the arpeggio reads B♭=9 (not '3'), C=M3 (not '9'), G=M7 (not '5'), F=6/13 (not '-2'), B♭=9 (not 'root'). The degree row is scrambled off the printed notes.
p102
A♭6/9 degrees = M3+5+8+9
→ Over A♭ the printed C+E♭+F+E read M3 (C) + 5 (E♭) + 6/13 (F) + ♭6 (E). The '8' (octave A♭) and '9' (B♭) in the label are not present in the voicing, and the actual 6th (F) is mislabeled '8'.
p103
A♭6/9
→ A♭ (M3+5 only; C+E♭ over A♭), no 6th and no 9th sounded; even the prose 5-note voicing C+E♭+F+E+C adds only the 6th (F), so it is A♭6 at most, never 6/9 (B♭, the 9th, is absent everywhere)
p104
A♭6 third-inversion
→ A♭6 FIRST inversion, the lowest sounding chord tone is C (the M3 of A♭6), and 3rd-in-bass = first inversion; third inversion would require the 6th (F) in the bass
p104
C♯/D♭ = the ♭4 / ♭3 of A♭
→ D♭ is the PERFECT 4 of A♭ (a diatonic scale tone in A♭ major), not a ♭4 / ♯3; the enharmonic relabel invents a chromatic alteration that does not exist
p102
A♭6/9 (C+E♭+F+E+C)
→ A 6/9 chord requires the 9th (B♭), which is absent. The printed E-natural is a ♭6 over A♭ (a foreign tone a true A♭6/9 never contains), and A♭ itself is not in the voicing. The notes spell at most an A♭6/no-root with an added ♭6, not a 6/9.
p106
C♮ ↔ C♯ flicker over Ab5, presented under MOVE 4 (MODE-MIXING / CONTESTED THIRD = vocal on ♮3 vs ♭3)
→ C♯ is a perfect 4th above Ab (Ab→C♯ = 5 semitones), not a minor third. A real major/minor-third contest over Ab5 is C♮ (M3, 4 st) vs C♭/B♮ (♭3, 3 st). As written the second flicker note is a 4th, so this is not a contested ♮3/♭3 event; either the pitch should read C♮ ↔ C♭ or it does not belong under Move 4. The 'miniature of the verse's Bb↔Gb' framing also misfits, since the verse case was a chord-change pivot (Bb root → Gb), not a within-chord third contest.
p96
B♭ (9th) = the only extension above the stack
→ B♭ is not the only extension; F (the 6th/13th) is also an extension absent from the A♭maj7 stack (A♭ C E♭ G). The card's own note list one clause later names F as a 6th, a tone not in root+M3+5+M7, so 'only extension' is contradicted by the same card. C, G and E♭ double the stack; B♭ AND F are the two extension tones.
p99
A♭2 (briefly) as the second bass note
→ A♯2 / B♭2, the same card's MIDI box (bar 53 trace) reads that event as A♯2 (=B♭2), not A♭2. Prose note-name disagrees with the machine-read MIDI on the same card.
p99
9 distinct bass pitches
→ 8 distinct pitch values. The MIDI box's own bass-low trace lists only D#2, A#2, G2, D3, D#3, C1, D#1, A#1 = 8 distinct values; the '9 distinct pitch values' claim (repeated on the MIDI box) overcounts by one against the same card's data.
p101
vocal 9 (B♮)
→ vocal 9 (B♭), the 9th of A♭ is B♭, not B-natural; the card's own MIDI box (p102) lists this vocal event as B♭3. B♮ over A♭ would be a ♭3, contradicting the '9' degree. The note-name spelling is wrong.
p102
Cm9 (C+B♭+C+D), root+♭3+9
→ The printed notes contain no E♭ (the ♭3) and no G, so the 'm' (minor 3rd) the label asserts is absent. Over C the notes are root + ♭7 (B♭) + 9 (D). The label 'root+♭3+9' names a ♭3 that is not sounded and omits the ♭7 that is.
p102
I ↔ III (uppercase III) / 'THE III ROOT'
→ The chord on the 3rd degree is C minor (the card itself names it 'CM9'/'Cm' and labels it 'iii'). The iii chord of A♭ major is minor, so the numeral must be lowercase iii. Uppercase III implies a major chord and contradicts the card's own Cm spelling and its index line ('I ↔ iii vamp').
p103
final vocal phrase at bar 53
→ the same card's MIDI box reads “Vocals (track 3) last onset at bar 46.5 (E♭3); silent from bar 47 onward”, prose bar 53 contradicts the machine-read last-vocal bar 46.5/47
The one-line fix. Apply the global CSS rule once, then a single editorial pass per card with one rule, make the prose obey the staff label and MIDI box already on the page. That clears the large majority of all 128 findings.