A · previous rhythm
The unchanged standard-touch longer-sentences take, not its separate wider-touch variant.
The tune's turns.
Not timing jitter.
The same 93 pitches and original guitar. This version borrows the accepted tune's long-note/short-triplet turns for the opening, reply, minor turn, rise, crest and low ending. It changes written internal rhythm, not tempo or the instrument.
B · the tune's turns
Selected long-note/two-pickup and triplet-fall figures; every pitch, touch, sentence boundary and bass response stays fixed.
Same original touch, matched guitar playback loudness, no random humanization. Triplets are part of this tune's actual rhythmic language—not a universal recipe for soul or a claim of Pat-level playing. This remains a separate, unapproved writing choice.
Complete rhythmic take · MP3 · WAV · Previous complete take · Separate wider-touch comparison · Preserved original Ruth
What the original actually teaches
The accepted primary melody has 68 notes on an exact shared grid, two near-uniform touch values, and fourteen third-beat pickup positions. The preceding new chorus has many quarter-beat positions but no thirds. That points toward a deliberate rhythmic alternative, not automatically adding tiny timing errors or stronger dynamics.
Selected internal figures change while all 93 pitches/order/touches/strings, six whole-sentence starts and endings, harmonic anchors, original shared clock and bass events remain fixed. The original instrument's excitation/release/filter/pan/source gain do not change; the score also guards against accidentally selecting its alternate release-tail branch.
One constant matches only the new complete solo's level. The full take preserves exact accepted theme/ring-out/closing PCM and the original mix-minus-guitar backing. Every older recording, source and URL stays untouched.
Comparison and preservation measurements · Actual accepted-head rhythm audit · Actual written choices · Unchanged original guitar source · Study notes