1   What PianoMuse is

PianoMuse is a MIDI-effect plugin. It reads MIDI (chords) and writes MIDI (a part). It makes no sound of its own — its output feeds an instrument of your choice. In every host the job is the same:

chords  →  PianoMuse  →  an instrument

You give PianoMuse a chord progression — typed into its built-in grid, or played live into its MIDI input — pick a style, and it generates a musical part that stays locked to the host tempo and transport.

Two ways to drive it

• Song mode — build a full arrangement inside PianoMuse (sections, meters, chords per bar) and it plays that arrangement.
• Follow mode — PianoMuse listens to chords arriving at its MIDI input in real time and plays along with whatever you feed it.

What's in the box

• 20 built-in piano & organ styles, each with its own feel.
• A section-based arranger with a sub-bar chord grid and a circle-of-fifths chord picker.
• Live chord-follow, MIDI drum-lock, and drag-out MIDI export.
• Plain-text, shareable style / song / bundle files.

2   Installing

Windows

1. Run PianoMuse-1.0.0-Setup.exe.
2. It installs the VST3 to C:\Program Files\Common Files\VST3\PianoMuse.vst3 — the folder every DAW scans.
3. Accept the license agreement, then continue.
4. Launch your DAW and rescan plug-ins if it doesn't appear automatically.

macOS

1. Open PianoMuse-1.0.0.pkg, accept the license agreement, and follow the installer.
2. It installs both formats system-wide:
   • VST3 → /Library/Audio/Plug-Ins/VST3/PianoMuse.vst3
   • Audio Unit → /Library/Audio/Plug-Ins/Components/PianoMuse.component
3. Logic Pro and Luna use the AU; most other Mac DAWs can use either.

Formats by DAW

3   Quick start (3 steps)

The fastest way to hear PianoMuse, using Song mode:

1. Insert PianoMuse before an instrument. Put PianoMuse and an instrument in the same signal path so PianoMuse's MIDI reaches the instrument. (Exactly how depends on your DAW — see §12. In Logic: PianoMuse in the track's MIDI FX slot. In Reaper: PianoMuse then the instrument in one FX chain.)
2. Type a progression. In PianoMuse's Arrangement grid, click a chord cell and enter chords (e.g. C, Am, F, G) — or use the chord selector (§7).
3. Pick a style and press Play. Choose a style from the dropdown, set Source = Song (grid), and start the host transport. PianoMuse plays the part through your instrument, in time.

To play along live instead

Set Source = Follow MIDI and send chords into PianoMuse's MIDI input (from a MIDI clip, a keyboard, or your DAW's chord track). PianoMuse plays under whatever chords it hears.

4   The interface at a glance

The editor is one window, top to bottom:

Top row — global controls

Selected Section — per-section settings

Arrangement — the chord grid

• Section bands across the top — click one to select it.
• Chord cells below — click a cell and type a chord, or open the chord selector.
• Grid sets tick size: 1/4, 1/8, or 1/16 — so you can place more than one chord per bar.
• + Section / − Section, + Bar / − Bar, and zoom + / − shape the arrangement.
• A playhead sweeps the grid during playback and auto-scrolls, and the selected section follows it — so each section's knobs and chords come into view as the song progresses. It steps aside while you're editing this section — holding a knob, typing its name, or browsing the style/meter list — and for a moment after any value change, so it never pulls the selection away mid-tweak. On by default; turn it off with File → Follow section on play if you'd rather the selection stay put.

Styles & export

• Import Style / Export Style — share .pmstyle files (§11).
• Drag-MIDI strip — press and drag to drop the arrangement as a .mid (§10).

5   Source modes

The Source dropdown decides where PianoMuse gets its chords.

Song (grid)

Plays the arrangement you built in the grid — every section, its meter, style, feel and chords, in order, locked to the transport. This is the main mode for writing a part into a song.

Follow MIDI

Ignores the grid and plays under chords arriving at PianoMuse's MIDI input in real time. Hold a chord on a keyboard or feed a MIDI clip / chord track and PianoMuse follows it, using the first section's style and feel. The arrangement grid hides in this mode to keep the window compact.

Demo progression

A built-in looping progression so you can audition a style instantly without building anything. Great for comparing styles.

6   Building a song

Sections

A song is a list of sections. Each section has its own time signature, style, feel, and bars — so a 4/4 Motown verse can be followed by a 3/4 prog bridge in a different style. Use + Section / − Section to add and remove them, and click a section band to select and edit it. A song always keeps at least one section, so − Section won't remove the last one (it flashes to say so). To wipe everything and start over, use File → Clear Song.

Quick song builder

File → Build arrangement… scaffolds a whole multi-section song in one step. Type a structure as Name:Bars tokens —

Verse:8 Prechorus:4 Chorus:8 Turn:4 Verse:8 Chorus:8

— or click a template (Pop, Verse/Chorus, AABA, 12-bar blues). PianoMuse creates all the named sections with those bar counts; new sections inherit the currently-selected section's meter, style and feel, and repeated names are auto-numbered (Verse 1, Verse 2). Choose Append to add to the current song, or Replace to clear it first — and Save current song… backs up the existing arrangement before you replace it.

Copy, paste & insert sections

Right-click a section band for the full set of actions:

• Insert Section Before / After — drop a new section at that exact spot, not just at the end.
• Duplicate Section — copy the section (chords, meter, style, feel) in place, named “… copy”.
• Copy / Cut, then Paste Before / After — move or repeat a section anywhere in the song (e.g. copy a chorus and paste it later).
• Copy Chords / Paste Chords — copy just this section's chord progression and drop it into another section, without changing the target's style, feel or meter (unlike Copy Section, which carries everything).
• Time signature ▸ — set this section's meter right on the band, without opening the Selected-Section panel. The menu covers 13 meters — 4/4 3/4 2/4 5/4 6/4 7/4 2/2 3/2 6/8 9/8 12/8 7/8 5/8 — and odd-eighth meters now play at their true length (7/8 is 3½ beats, not a rounded 4), so loops, the moving playhead and MIDI export all line up. The grid is exact at the 1/8 and 1/16 resolutions.
• Grid resolution ▸ — Default (follow the global grid), or 1/4 / 1/8 / 1/16 for this section only. Bump a busy section to a finer grid to place chords precisely while the rest of the song stays compact. It's a view aid — it doesn't change playback, and the choice is saved with the song.
• Mute Section (silence) — silence the whole section: the part lays out while the section keeps its place, chords, style and length (a “drop”). The band is greyed and labelled MUTED. See Silence below.
• Split Section ▸ Before bar N — divide this section in two at that bar, keeping its meter, style and feel. Handy after a dropped MIDI clip grows a section, or any time you want to break one up.
• Delete Section.

Keyboard shortcuts (when the editor has focus): Ctrl/Cmd+C copy, Ctrl/Cmd+X cut, Ctrl/Cmd+V paste after, Ctrl/Cmd+D duplicate.

Bars & chords

Add bars with + Bar. Click any chord cell and type a chord symbol. PianoMuse understands a wide vocabulary:

• Triads and sevenths: C, Am, G7, Cmaj7, Dm7, F#m7b5
• Extensions: 9, 11, 13 (e.g. C13, Am11)
• Slash / inversions: C/E, G/B — the part honours the slash note

More than one chord per bar

Set Grid to 1/8 or 1/16 and place chords on sub-beats. Each chord holds until the next; an empty cell holds the previous chord. In text form a bar looks like F@0 G@2 (F on beat 1, G on beat 3) or Am@0 Dm7@1.5 (change on the “and of 2”).

Style overrides — a different player per bar or chord

By default every bar plays in its section's style. You can override that for a single bar or even a single chord, so one passage takes a different voice while the rest of the section keeps its groove. The section's feel (density, swing, ghost, legato, …) still applies — only the style changes.

• Per bar — click a bar number (the row above the chord cells) and pick a style, or Inherit section to clear it. Overridden bars are tinted in the style's colour.
• Per chord — right-click a chord cell and pick a style, or set the Style dropdown in the chord selector (§7). A chord override wins over the bar and the section, and the cell is framed in the style's colour. Choose Inherit bar / section to clear it.

Overrides are saved with the song and travel in shared .pmsong files; if a recipient doesn't have that exact style, the bar falls back to the section style.

Silence — drop out a section or a bar

Sometimes the part should lay out — a rest bar, or a whole section that drops before a big return. You can silence either without deleting anything:

• Mute a section — right-click the section band ▸ Mute Section (silence). The whole section goes silent; its band is greyed and labelled MUTED.
• Mute a bar — right-click a bar ▸ Mute bar (silence). That bar goes silent and its lane dims with an M badge.

Silencing only affects output: the section keeps its place in time (the loop length and playhead are unchanged), and its chords, style and feel are all kept — so un-muting restores exactly what was there. A chord held into a muted bar simply resumes after it, and a note ringing into a drop is trimmed so the silence is clean. Mute is saved with the song, and both live playback and Drag MIDI to your DAW honour it. (Silencing an individual beat is planned for a later release.)

Keep the lead-out fill. A muted region's menu also has Keep fill when muted: turn it on and the part still plays that region's transition fill — the pickup run that leads into the next chord or section — while everything before it stays silent. It's the classic "drop, then a fill back in." The region dims a little lighter and reads MUTED (fill) (and keeps its F badge) so you can see the fill survives. Off by default, so a plain mute is complete silence; it only has an effect where a fill is actually defined (a section's last bar, or a bar with a Fill marker).

Key

Leave Key on Auto and PianoMuse detects the key from your chords (shown as “Key: C major”). Override it if you want a specific tonal centre — approach notes and walking lines respect the key.

Seed, octave & range

Seed rolls a new variation while keeping everything else fixed — click the dice button beside it to jump to a random seed, or the ▾ button to pick from the last 10 seeds you used (saved with the song). Octave transposes the whole part. Range (Low / High notes) folds every generated note by octaves to stay inside your instrument's playable window — handy when a sampled instrument has a limited range. All three are global to the song.

Live variation trigger

The Seed re-rolls the whole song between takes. The variation trigger does it live and per section: a MIDI note you choose re-rolls the pattern for whichever section the playhead is in, while the song plays — a "variation pad" for performing. The rest of the arrangement is untouched, and the new pattern lands cleanly on the next downbeat, never mid-bar.

Set it up under File → Variation trigger:

• Learn trigger note (tap your pad) — click it, then play the note you want to use. PianoMuse captures that note and its MIDI channel, so whatever your controller or DAW sends just works — no channel guesswork.
• Channel — leave on Any, or pin the trigger to one channel (1–16) to keep it separate from other input.
• Enabled — off until you switch it on, so a stray note never re-rolls anything by accident.

During playback, each tap steps to the next variation. It's deterministic: the same taps reproduce the same part, and the underlying song seed is untouched. The section's band flashes when a variation fires, and stays marked with a small ▲N badge for as long as it's on a variation — N is how many times you've re-rolled it, so you can see at a glance which sections are running a variation versus their base seed. Found one you love? File → Variation trigger → Bake current variations into song folds it into the saved song so it survives edits, saves and reloads (and clears the badges, since the variation becomes the section's seed). (Works in Song (grid) mode, where PianoMuse owns the sections.)

Browsing & reproducing variations. Hover a section's band to read out its effective seed and how it breaks down — base seed + baked bump + variation offset — so when a re-roll sounds great you can write the numbers down and get it back later. Two buttons by the arrangement, ◂ and ▸, step the selected section back and forth through the variations you've stacked up, so you can audition them and settle on one before baking. Prefer to keep your hands on the controller? File → Variation trigger → Learn step-back note assigns an optional MIDI note that steps a variation back — the companion to the trigger that steps forward.

Keep it on its own track. The trigger note reaches the plugin through its MIDI input, so don't chain PianoMuse in series behind another MIDI-generating plugin (for example BassMuse, or a second PianoMuse). Each of these plugins replaces its MIDI output with the part it generates, so anything placed after it receives those notes instead of your controller — the trigger note (and live chords) never arrive and the tap does nothing. Give each plugin its own track fed straight from your controller, or route the controller to both in parallel rather than one into the other.

7   The chord selector

Instead of typing, click a chord cell to open the circle-of-fifths chord selector — a visual way to pick chords that stay in key.

• Circle of fifths — outer ring is major roots, inner ring the relative minors, with the song key in the centre. Click a root to choose it.
• Type — major, minor, 7th, maj7, m7, and more.
• Intervals — toggle extensions (9 / 11 / 13, alterations).
• Bass — pick a slash-bass note for an inversion (e.g. C/E).
• Style — optionally override the style for just this chord (see §6). Leave it on Inherit bar / section for the normal behaviour.
• Piano preview — shows the chord voiced once and centred on the keyboard, so you can see exactly what you're placing.
• Apply writes the chord (and any style override) to the cell; Clear empties it.

8   Styles & the feel knobs

A style models a player's characteristics — register, rhythmic feel, harmonic vocabulary and articulation — rather than any copyrighted transcription.

Twenty piano and organ styles are built in. Each models a different keyboard player's approach — which hand does what, how the chord is voiced, the rhythmic feel and the touch on the pedal (see §9 for the two-hand engine behind them):

The feel knobs

Each section has seven knobs. Picking a style loads its default feel; tweak to taste. They're per-section, so each part of the song can breathe differently.

Per-bar Fill markers. Want a fill somewhere other than the section end — say bar 4 and bar 8 of an eight-bar verse? Right-click any bar → Fill and pick Light, Medium or Heavy to force a fill there, or No fill here to suppress one the style would add. Choose Auto to hand the bar back to the style default. Each bar shows a small F badge that tells you what it will do at a glance: a solid amber F means the bar fills (brighter with the amount), a faint hollow F means it won't. Per-bar markers travel with the song — they're saved in your .pmsong and DAW session.

Fill direction. A fill can run up or down into the change. The Fill picker on the section row sets the direction for the whole section: Auto heads the shortest way toward the next chord (the default), Up always ascends, and Down always descends — the run still lands on the same approach note either way. Each style carries its own default direction, and you can override a single bar from its right-click Fill direction menu (Follow style hands the bar back to the section setting).

You can also make your own styles as plain-text .pmstyle files — see §11 and the Appendix.

9   Two hands, voicings & pedal

PianoMuse is a two-hand engine. It generates a left hand and a right hand as two independent note streams and merges them into one MIDI output, so a style is really two performers working together — a bass/comping left hand and a melodic/chordal right hand. Each style picks a left-hand mode, a right-hand mode, a voicing and a register for each hand.

Left-hand modes

The left hand is an instrument of its own: it can hold a root, walk a bass line, stride, or carry the whole bottom end when the band has no bassist. Whichever mode a style uses is realised against the current chord, so the harmony always stays correct.

Right-hand modes

Register windows

Each hand has its own register — a low / centre / high window in MIDI note numbers — nested inside the style's overall range. The defaults are a left hand around E1–B3 (centre ~G2) and a right hand around G3–G6 (centre ~E4); every style shifts these to taste (a pomp-rock style pushes the right hand up, an ambient style spreads both wide). Generated notes fold by octaves into their hand's window, so the two hands keep out of each other's way and the voicing sits where the player would put it.

Flow ties within a hand

The Flow knob (§8) ties each note toward the next attack across empty beats so a line holds instead of leaving gaps. In PianoMuse that tying happens within a hand: the left hand flows to the left hand's next note and the right hand to the right hand's, never across from one hand to the other, and — as with the bass — it stops at chord changes. So a sustained left-hand root can ring under a detached, articulated right hand, and each hand keeps its own sense of legato.

Voicings

The voicing decides how the right hand stacks the chord. Each style picks one; the same progression sounds completely different through close triads than through rootless upper structures.

A style also sets how many notes a right-hand chord holds (a min and a max) and a spread chance that a voicing opens out on any given hit.

Voice-leading

Chord to chord, PianoMuse leads the voices smoothly rather than jumping to a fresh root-position shape each time. It octave-shifts the new voicing toward the previous one so the voices move the shortest distance, and it chooses an inversion that gives the top voice the melodic motion the style wants — the top-motion amount, set per style, controls how much that top line moves from one chord to the next (low for a static pad, high for a singing countermelody). The result is a connected part where the top voice reads as a melody and the inner voices barely budge.

Sustain pedal (CC64)

PianoMuse plays the sustain pedal for real, emitting MIDI CC64 alongside the notes, so a piano or Rhodes instrument that responds to the pedal rings and blurs the way it should. Each style carries a pedal amount — from never (dry, staccato organ and synth patches) up to repedal on every chord change (lush ballads and gospel). On a change the pedal lifts and re-presses cleanly, so held voicings sustain within a chord without smearing across the harmony. Point PianoMuse at an instrument with pedal response to hear it; a patch that ignores CC64 simply plays the notes.

Drum Lock (left hand)

The Drum slider biases the left hand's onsets onto your kick pattern, so the bottom of the keyboard locks up with the drums while the right hand keeps its own comping. At 0 the left hand plays its natural style groove; toward 1 it progressively lands on the kicks. Feed GM kick notes 35 / 36 on MIDI channel 10 into PianoMuse's MIDI input (chord-follow ignores channel 10, so live chords and kicks can share the input), then raise the slider. It reacts to MIDI kicks, not an audio drum track.

10   Drag-MIDI — export & import

The Drag MIDI to your DAW strip prints your whole arrangement to a standard .mid file. Press and drag it straight onto a track in your DAW (or into a folder) and drop — you get a MIDI clip of the part.

This is the universal fallback: it works in every DAW with no routing and no format concerns, and it bounces down perfectly since it's just MIDI on a track. Use it whenever live routing is awkward, or for Pro Tools (§13).

Drag Chords — a chord track for piano/pad

Beside it, the Drag Chords to your DAW strip prints the arranger chords as sustained block-chord MIDI — drag it onto a piano, pad or synth track to comp under the part. It voices the full chord (extensions and all), spread across the mid register.

File → Chord drag: omit low root (on by default) leaves the low end to the part; turn it off to add a low root that anchors the chords on their own. The choice is saved with the song.

Just the selected section

The Selected section only toggle by the drag strips scopes both the Part and Chords drag-outs to the currently-selected section, rebased to start at bar 1 — the strip labels show the section name so you know what you'll drop. Turn it off to export the whole song as before.

Generate chords from dropped MIDI

The strips work the other way too: drag a MIDI clip out of your DAW and drop it on the arranger to turn it into chords. PianoMuse reads the harmony (from the most chordal track, so a single-note line playing alongside the chords doesn't throw it off), samples at the current Grid, collapses repeats, and writes the progression into the grid — so you don't retype chords you already have.

When you drop, a menu asks where the chords should land:

• Whole song — split across all sections by their positions (the last section grows if the clip runs long).
• Selected section — replace the section you currently have selected.
• This section — replace the section you dropped on.
• From this measure — fill forward from the bar you dropped on toward the section's end; the section's bars beyond the clip are left untouched.
• As a new section — create a new section at the end for the chords. PianoMuse asks for its time signature first, so a 4/4 clip dropped after a 3/4 section gets a proper 4/4 section (the new section inherits the previous one's style and feel).

For a section or a from-measure target, if the clip is longer than the space it has, PianoMuse asks whether to clip it to fit (drop the extra bars) or extend — grow the section to hold the whole clip. Whole song and new-section grow to fit on their own, and PianoMuse still asks first before replacing chords that are already there.

Capture chords live from MIDI

Some DAWs won't let you drag a MIDI clip onto a plugin. For those, PianoMuse can read the chords as you play them instead. Turn on File → Capture chords from MIDI to arm capture, route a chord track (or your keyboard) into PianoMuse's MIDI input, and play. Each chord is timestamped against the transport; stop, and PianoMuse writes what you played into the grid — the same result as a drop, without the drag. The drum channel (10) and your variation-trigger note are ignored, so they never turn up as chords, and PianoMuse still asks before replacing chords that are already there.

11   Sharing: styles, songs, bundles

Everything PianoMuse saves is plain text — no packs, no samples, no recompiling. Three file types:

Cross-product songs. File ▸ Load Song also opens BassMuse song files. The arrangement transfers — sections, chords, time signatures, per-bar fills and mutes — and PianoMuse applies its own styles, since the two plugins share one song format.

Where files live

• Styles: Documents/PianoMuse/Styles/*.pmstyle — loaded at startup and added to the Style dropdown.
• Songs: Documents/PianoMuse/Songs/*.pmsong (you can save anywhere).

Rolling your own style

A .pmstyle is key = value lines with rhythm cell figures. You control register, swing, note-choice weights, velocity, articulation and feel. See the Appendix for the key list.

12   Using PianoMuse in your DAW

PianoMuse's Follow-MIDI code is the same everywhere — only the host routing differs. There are three patterns:

• Model A — in-chain MIDI FX: PianoMuse and the instrument live in one track's device chain (cleanest).
• Model B — instrument + MIDI-out route: PianoMuse is an instrument on track A; its MIDI output feeds a second instrument track B.
• Model C — format-incompatible: the DAW can't load PianoMuse's format (Pro Tools — see §13).

Waveform 14 (Tracktion) — step by step

Waveform runs a left-to-right plugin chain per track and passes MIDI down it, so PianoMuse and the instrument live on one track (Model A). The signal path is chords → PianoMuse → instrument.

1. Add a track — a normal track.
2. Drop PianoMuse (VST3) into the track's plugin chain.
3. Add an instrument to the right of PianoMuse in the same chain — Waveform's Collective or 4OSC, or any VSTi. Order matters: PianoMuse must sit before (left of) the instrument so its MIDI reaches it.
4. Set your chords. Song mode (PianoMuse's own grid) is simplest and needs no routing. For Follow mode, put a chord MIDI clip on the same track ahead of PianoMuse in the chain, or play chords live into the track.
5. Press Play. PianoMuse locks to Waveform's transport and plays the part through the instrument, in time.
6. Optional — if nothing plays: drop a MIDI clip on the track spanning your arrangement. An empty clip is enough to keep the plugin chain processing.

Simplest alternative: skip the routing — use Drag-MIDI (§10) to drag PianoMuse's part straight onto the instrument's track, then press Play.

Cakewalk Sonar — step by step

PianoMuse and the instrument are two separate tracks — PianoMuse emits MIDI, the instrument makes the sound.

1. Instrument track — insert your instrument as its own Instrument track; confirm it makes sound when you play notes on it.
2. PianoMuse track — insert PianoMuse as an instrument. In Views ▸ Synth Rack, right-click PianoMuse ▸ Enable MIDI Output.
3. MIDI relay track — add a MIDI track; set Input = PianoMuse (MIDI Output) and Output = the instrument.
4. Turn on that MIDI track's Input Echo so MIDI passes through live.
5. Press Play. In Song/Demo source PianoMuse generates on its own; in Follow source, feed chords to PianoMuse's track (Sonar's Chord dock works).

Simplest alternative: skip the routing — drag PianoMuse's MIDI straight onto the instrument's track (not PianoMuse's) and press Play.

13   Pro Tools

Pro Tools speaks AAX only and won't show PianoMuse's VST3 or AU yet. Two workflows cover Pro Tools today:

Path 1 — import the MIDI (most reliable, no purchase)

1. Produce a .mid: use Drag-MIDI (or Save) from PianoMuse in any other DAW you own.
2. In Pro Tools: File ▸ Import ▸ MIDI… (or drag the file in) onto an Instrument track that has an instrument.
3. Native playback and mixdown — no routing, no bridge.

Path 2 — VST→AAX bridge (real-time)

1. Insert a bridge such as Blue Cat PatchWork (AAX) or DDMF Metaplugin on a Pro Tools Instrument track.
2. Inside it, load PianoMuse (VST3) then an instrument (VSTi).
3. Route PianoMuse's MIDI out → the instrument's MIDI in.
4. Feed chords to the track; Follow mode and Song mode both play.

A native AAX build (listed directly in Pro Tools) is planned for a future release.

14   Troubleshooting

Report a problem or request a feature

Click Report in the plugin header — it opens a short form and auto-fills your PianoMuse version, OS and DAW — or visit the feedback page. Your bug, idea or question goes on the feedback board, where other owners can upvote it.

15   Appendix & reference

File locations

.pmstyle keys — the full dial reference

Every dial a style can set, with its range and built-in default. A PianoMuse style describes both hands, the voicing and the pedal. Eight are live controls in the plugin — the knobs Density, Complexity, Swing, Humanize, Ghost, Legato, Flow and Fill (all marked ●); the rest are set only in the .pmstyle file. Export Style writes all of them, so exporting a built-in player gives you a complete, editable template. Unknown keys are ignored, so the format is forward-compatible.

Rhythm cells

Each cell (right hand) or lhcell (left hand) is one beat wide; onsets are fractions of the beat in [0,1), and the weight after | is its relative likelihood:

cell   = 0                | 1     # a quarter note
cell   = 0 0.5            | 3     # two eighths, weight 3
cell   = 0 0.25 0.5 0.75  | 2     # four sixteenths
lhcell = 0                | 2     # left hand on the beat
lhcell =                  | 1     # a whole-beat rest (space)

Chord symbols PianoMuse understands

Roots A–G with #/b; qualities incl. m, 7, maj7, m7, m7b5, dim, aug, sus2/4; extensions 9 / 11 / 13; slash bass C/E. In text songs a chord may be positioned in the bar with SYM@beat (e.g. G@2).