{
  "song_id": "08_Ordinary_20260512",
  "prompt": "Genre: Cinematic Folk-Pop; BPM: 112; Key: D major; Rhythm: Driving, halftime groove in verses with a stomping kick-snare pattern, evolving into a powerful, open full-time beat in the chorus, emphasizing beats 1 and 3; Instruments: Fingerpicked acoustic (string/fret noise), Roomy stadium kit (deep kick, fat snare), Deep sub-bass (round, foundational); Vocals: Male, intimate and slightly breathy verse delivery transitioning to powerful chest belting in the chorus, with a clear, resonant tone and controlled dynamics; Mood: The moment you see someone across a crowded space and everything else blurs into silent slow-motion, a sudden feeling of finding a destination you didn't know you were looking for; Highlight: The sudden dynamic explosion on the downbeat of the first chorus, where intimate fingerpicked guitar is instantly replaced by a massive stadium drum kit and a wall of choir vocals.",
  "title": "Bone and Marrow",
  "lyrics": "[intro]\n(Inst: Close-mic'd fingerpicked acoustic guitar, audible fret noise, reverb tail)\n(Hook-DNA: Rhythmic pattern is a dotted eighth + sixteenth arpeggio; Anchors on the root note; Motif repeats with slight harmonic variation)\n(Mix: High-Fidelity, Pristine Radio-Ready Mix. Wide stereo image, prominent but clean sub-bass, clear vocal-centric mids, silky smooth high-end. Light bus compression. Guitar centered.)\n\n[verse]\n(Chords: D - G - Bm - A)\n(Vocal-Perf: Intimate, close-mic'd, slightly breathy delivery, low in range)\n(Inst: Acoustic guitar continues, subtle sub-bass enters, playing root notes)\n(Melody-Contour: Mostly stepwise motion, narrow range, conversational feel)\n(Melody-Rhythm: Phrases start on the upbeat, creating a gentle forward momentum against the downbeat pulse)\nI used to sleep through every Sunday morning\nPast the church bells, past the call\nTold myself that I was past the wanting\nBuilt a roof against it all\nThen your laughter hit the ceiling of that diner\nAnd it cracked me wall to wall\n\n[pre-chorus]\n(Chords: G - A)\n(Vocal-Perf: Intensity builds, more sustained notes, slight increase in volume)\n(Inst: Acoustic guitar pattern becomes more open, holding chords)\n(Transition: Slight crescendo, reverb on vocal increases, building tension)\nOh the ground\nShifted underneath\nAnd I couldn't look away\n\n[chorus]\n(Chords: D - A - Bm - G)\n(Mix: Massive dynamic shift. Stereo image widens dramatically. Parallel compression on drums/vocals for punch)\n(Vocal-Perf: Shifts to powerful, open-throated chest voice, high in the register. Lush background vocal stacks enter)\n(Inst: Huge stadium drums enter, wide gospel-style choir backing vocals, deep sub-bass)\n(Hook-DNA: Rhythmic pattern is quarter-quarter-half note on \"out of the or-din-ar-y\"; Anchors on the 5th and resolves to the 3rd; Motif repeats with lyrical variation)\n(Melody-Contour: Ascending leap of a perfect 4th on \"takin' me out\", creating an uplifting arc)\n(Melody-Rhythm: Strong on-the-beat phrasing, driving and declarative, locking in with the kick and snare)\n(Melody-Harmonic-Tension: Melody holds the 2nd over the root D chord at the start of \"ordinary\", creating a brief suspension before resolving down to the root)\nYou rewired every circuit in my body\nDown to bone and marrow, down to the root\nI was a sealed room, you swung the door wide open\nNow the whole sky's pouring through\nEvery road I ever walked was growing toward you\nAnd I never even knew\nSomewhere the mountains must be splitting down the middle\nGroaning at what two people stumbled into\nRewired to the bone\nDown to marrow, down to home\nEvery road was always growing, always growing toward you\n\n[bridge]\n(Chords: G - D - A - Bm)\n(Vocal-Perf: Softer again, but with a soaring quality. Emotional and slightly strained)\n(Inst: Drums simplify to just kick and tom fills, acoustic guitar prominent again, pads swell)\n(Melody-Harmonic-Tension: The phrase \"heaven's gate\" lands on the 5th over the A chord for an open feeling, while \"how do ya\" hangs on the 2nd over the G chord, creating yearning before resolving in the next line)\nI have been afraid of wide-open spaces\nNow I stand here with my arms out in the field\nAsk me how it's possible to drown and still be breathing\nAsk me what it means when a wound becomes the only way to heal\nOh I know\n\n[chorus]\n(Chords: D - A - Bm - G)\n(Vocal-Perf: Full power, ad-libs added in background. More layers and harmonies than the first chorus)\n(Inst: All elements from first chorus return, more layers in the choir vocals, cymbals create more of a wash)\n(Hook-DNA: Rhythmic pattern is quarter-quarter-half note on \"out of the or-din-ar-y\"; Anchors on the 5th and resolves to the 3rd; Motif repeats with lyrical variation)\n(Melody-Contour: Ascending leap of a perfect 4th on \"takin' me out\", creating an uplifting arc)\n(Melody-Rhythm: Strong on-the-beat phrasing, driving and declarative, locking in with the kick and snare)\n(Melody-Harmonic-Tension: Melody holds the 2nd over the root D chord at the start of \"ordinary\", creating a brief suspension before resolving down to the root)\nYou rewired every circuit in my body\nDown to bone and marrow, down to the root\nI was a sealed room, you swung the door wide open\nNow the whole sky's pouring through\nEvery road I ever walked was growing toward you\nAnd I never even knew\nSomewhere the mountains must be splitting down the middle\nGroaning at what two people stumbled into\nRewired to the bone bone\nDown to marrow, down to home home\nEvery road was always growing always growing toward you\n\n[breakdown]\n(Chords: G - D - A - Bm)\n(Mix: Drops down significantly. Instruments become sparse. Reverb becomes more noticeable)\n(Vocal-Perf: Returns to a more intimate, breathy delivery, emotionally charged)\n(Inst: Drums drop out, leaving only pulsing sub-bass, atmospheric piano pads, and sparse acoustic guitar)\n(Transition: Builds with a tom fill and rising vocal layers into the final section)\nSomething this close doesn't need a name\nYou press your hand to mine and the trembling\nGoes all the way down\nAnd I think I was hollow\nRight up until now\n\n[outro]\n(Chords: D - A - Bm - G)\n(Mix: The biggest section. All layers at maximum. Heavy vocal layering and ad-libs)\n(Vocal-Perf: Ad-libs and powerful sustained notes over the main chorus melody)\n(Inst: Full band, choir vocals are layered and chant-like. Cymbals create a wash of sound)\nYou rewired every circuit in my body\nDown to bone and marrow, down to the root\nI was a sealed room, you swung the door wide open\nNow the whole sky's pouring through\nEvery road I ever walked was growing toward you\nAnd I never even knew\nSomewhere the mountains must be splitting down the middle\nGroaning at what two people stumbled into\nRewired to the bone bone\nDown to marrow, down to home home\nEvery road was always growing always growing toward you",
  "cover_prompt": "生成一张无字音乐专辑封面。风格严格参照 20 世纪 Color Field Painting（色域绘画），如 Mark Rothko 晚期作品的色层叠压逻辑与 Helen Frankenthaler 的浸染法（soak-stain technique）。画面的核心色彩与情绪：辽阔而震动的暖土色与深赭红，底层透出一道裂缝般的暖金光，如同大地被某种巨大力量从内部撑开，颜料向四周漫散，像胸腔里什么东西被重新接通了回路。\n技法要求：色彩之间的过渡必须模拟颜料在未上浆的粗纹棉布（raw cotton canvas）上自然渗透、晕开的效果，边界柔软但保留颜料浓度不均匀造成的自然深浅变化（pigment pooling）。画面需要呈现真实画布的编织肌理（woven canvas texture），局部可见稀薄处透出的底布纹路。整体色调偏低饱和、微微发灰（muted, desaturated palette），避免荧光感和数字渐变的均匀平滑。\n绝对禁止：任何文字/字母/拼音、人物或人物轮廓、具象物体、几何图案、锐利边缘、胶片颗粒滤镜、3D渲染质感。",
  "cover": {
    "template_id": 1,
    "template_name": "环境光晕流",
    "scene_description": "辽阔而震动的暖土色与深赭红色域叠压，底层透出一道裂缝般的暖金光，如同大地被某种巨大力量从内部撑开，颜料向四周漫散，像胸腔里什么东西被重新接通了电路——低饱和、微发灰，厚重但并不压抑，有一种被彻底打开后的宽阔感"
  },
  "style_direction": "B",
  "style_reference": "Hozier, Noah Kahan, early Marcus Mumford"
}