Understand the failure.
Verify the repair.
Small, reproducible software failures. The broken implementation, the fix that didn’t work, and the one that passed—preserved together.
Explore the cases ↓How results are verified ↗WHAT THE ARCHIVE CONTAINS
100840 executable cases. 20168 are open.
Every case records the implementation that fails, the fix that did not work, and the repair that passed its checks—with recorded outputs and source hashes. This release adds 100840 cases across 20168 failure mechanisms and 254 domains.
The open tier gives you the failure and the unsuccessful fix for one case in every mechanism. The remaining 80672 cases, 5 variants per mechanism, are member-only: the verified repair, its recorded checks, and the full fixture suite are held in the member archive. Read the methodology ↗
A RECORD OF WHAT WENT WRONG
Browse the archive / 100840
Pythagorean ratio for a chain of fifths: flatward chains lifted by a single octave · case 01
Two fifths down returns 8/9 (below unison) instead of 16/9.
Pythagorean ratio for a chain of fifths: flatward chains lifted by a single octave · case 02
Two fifths down returns 8/9 (below unison) instead of 16/9.
Pythagorean ratio for a chain of fifths: flatward chains lifted by a single octave · case 03
Two fifths down returns 8/9 (below unison) instead of 16/9.
Pythagorean ratio for a chain of fifths: flatward chains lifted by a single octave · case 04
Two fifths down returns 8/9 (below unison) instead of 16/9.
Pythagorean ratio for a chain of fifths: flatward chains lifted by a single octave · case 05
Two fifths down returns 8/9 (below unison) instead of 16/9.
Pythagorean ratio for a chain of fifths: flatward chains stacked sharpward · case 01
One fifth down returns 3/2 instead of the fourth 4/3.
Pythagorean ratio for a chain of fifths: flatward chains stacked sharpward · case 02
One fifth down returns 3/2 instead of the fourth 4/3.
Pythagorean ratio for a chain of fifths: flatward chains stacked sharpward · case 03
One fifth down returns 3/2 instead of the fourth 4/3.
Pythagorean ratio for a chain of fifths: flatward chains stacked sharpward · case 04
One fifth down returns 3/2 instead of the fourth 4/3.
Pythagorean ratio for a chain of fifths: flatward chains stacked sharpward · case 05
One fifth down returns 3/2 instead of the fourth 4/3.
Pythagorean ratio for a chain of fifths: long flatward chains accepted · case 01
A chain of -25 fifths is computed instead of being rejected as out of range.
Pythagorean ratio for a chain of fifths: long flatward chains accepted · case 02
A chain of -25 fifths is computed instead of being rejected as out of range.
Pythagorean ratio for a chain of fifths: long flatward chains accepted · case 03
A chain of -25 fifths is computed instead of being rejected as out of range.
Pythagorean ratio for a chain of fifths: long flatward chains accepted · case 04
A chain of -25 fifths is computed instead of being rejected as out of range.
Pythagorean ratio for a chain of fifths: long flatward chains accepted · case 05
A chain of -25 fifths is computed instead of being rejected as out of range.
Transposing instrument written and concert pitch: written part transposed toward concert pitch · case 01
A concert C for Bb clarinet is written as Bb instead of D: the written part moves the same way as the sounding pitch.
Transposing instrument written and concert pitch: written part transposed toward concert pitch · case 02
A concert C for Bb clarinet is written as Bb instead of D: the written part moves the same way as the sounding pitch.
Transposing instrument written and concert pitch: written part transposed toward concert pitch · case 03
A concert C for Bb clarinet is written as Bb instead of D: the written part moves the same way as the sounding pitch.
Transposing instrument written and concert pitch: written part transposed toward concert pitch · case 04
A concert C for Bb clarinet is written as Bb instead of D: the written part moves the same way as the sounding pitch.
Transposing instrument written and concert pitch: written part transposed toward concert pitch · case 05
A concert C for Bb clarinet is written as Bb instead of D: the written part moves the same way as the sounding pitch.
Transposing instrument written and concert pitch: tenor saxophone treated like a clarinet · case 01
Tenor saxophone parts are written a major second above concert instead of a major ninth.
Transposing instrument written and concert pitch: tenor saxophone treated like a clarinet · case 02
Tenor saxophone parts are written a major second above concert instead of a major ninth.
Transposing instrument written and concert pitch: tenor saxophone treated like a clarinet · case 03
Tenor saxophone parts are written a major second above concert instead of a major ninth.
Transposing instrument written and concert pitch: tenor saxophone treated like a clarinet · case 04
Tenor saxophone parts are written a major second above concert instead of a major ninth.
Transposing instrument written and concert pitch: tenor saxophone treated like a clarinet · case 05
Tenor saxophone parts are written a major second above concert instead of a major ninth.
Transposing instrument written and concert pitch: negative MIDI result returned · case 01
Very low written notes for baritone saxophone return negative key numbers instead of None.
Transposing instrument written and concert pitch: negative MIDI result returned · case 02
Very low written notes for baritone saxophone return negative key numbers instead of None.
Transposing instrument written and concert pitch: negative MIDI result returned · case 03
Very low written notes for baritone saxophone return negative key numbers instead of None.
Transposing instrument written and concert pitch: negative MIDI result returned · case 04
Very low written notes for baritone saxophone return negative key numbers instead of None.
Transposing instrument written and concert pitch: negative MIDI result returned · case 05
Very low written notes for baritone saxophone return negative key numbers instead of None.
Transposing instrument written and concert pitch: unknown conversion direction passes pitch through · case 01
An unrecognised direction such as "sideways" returns the input pitch instead of None.
Transposing instrument written and concert pitch: unknown conversion direction passes pitch through · case 02
An unrecognised direction such as "sideways" returns the input pitch instead of None.
Transposing instrument written and concert pitch: unknown conversion direction passes pitch through · case 03
An unrecognised direction such as "sideways" returns the input pitch instead of None.
Transposing instrument written and concert pitch: unknown conversion direction passes pitch through · case 04
An unrecognised direction such as "sideways" returns the input pitch instead of None.
Transposing instrument written and concert pitch: unknown conversion direction passes pitch through · case 05
An unrecognised direction such as "sideways" returns the input pitch instead of None.
Transposing instrument written and concert pitch: input pitch above MIDI range accepted · case 01
An input pitch of 128 is converted (to 126 for Bb clarinet) instead of being rejected.
Transposing instrument written and concert pitch: input pitch above MIDI range accepted · case 02
An input pitch of 128 is converted (to 126 for Bb clarinet) instead of being rejected.
Transposing instrument written and concert pitch: input pitch above MIDI range accepted · case 03
An input pitch of 128 is converted (to 126 for Bb clarinet) instead of being rejected.
Transposing instrument written and concert pitch: input pitch above MIDI range accepted · case 04
An input pitch of 128 is converted (to 126 for Bb clarinet) instead of being rejected.
Transposing instrument written and concert pitch: input pitch above MIDI range accepted · case 05
An input pitch of 128 is converted (to 126 for Bb clarinet) instead of being rejected.
Written key signature for a transposing part: transposition counted in fourths · case 01
A part written a whole step up from C major gets ten sharps-worth reduced to two flats instead of two sharps.
Written key signature for a transposing part: transposition counted in fourths · case 02
A part written a whole step up from C major gets ten sharps-worth reduced to two flats instead of two sharps.
Written key signature for a transposing part: transposition counted in fourths · case 03
A part written a whole step up from C major gets ten sharps-worth reduced to two flats instead of two sharps.
Written key signature for a transposing part: transposition counted in fourths · case 04
A part written a whole step up from C major gets ten sharps-worth reduced to two flats instead of two sharps.
Written key signature for a transposing part: transposition counted in fourths · case 05
A part written a whole step up from C major gets ten sharps-worth reduced to two flats instead of two sharps.
Written key signature for a transposing part: flat keys folded into sharp side · case 01
An F major part with no shift is written with eleven sharps instead of one flat.
Written key signature for a transposing part: flat keys folded into sharp side · case 02
An F major part with no shift is written with eleven sharps instead of one flat.
Written key signature for a transposing part: flat keys folded into sharp side · case 03
An F major part with no shift is written with eleven sharps instead of one flat.
Written key signature for a transposing part: flat keys folded into sharp side · case 04
An F major part with no shift is written with eleven sharps instead of one flat.
Written key signature for a transposing part: flat keys folded into sharp side · case 05
An F major part with no shift is written with eleven sharps instead of one flat.
Written key signature for a transposing part: written key moved toward concert pitch · case 01
A Bb clarinet part (written a whole step up) for C major is given two flats instead of two sharps.
Written key signature for a transposing part: written key moved toward concert pitch · case 02
A Bb clarinet part (written a whole step up) for C major is given two flats instead of two sharps.
Written key signature for a transposing part: written key moved toward concert pitch · case 03
A Bb clarinet part (written a whole step up) for C major is given two flats instead of two sharps.
Written key signature for a transposing part: written key moved toward concert pitch · case 04
A Bb clarinet part (written a whole step up) for C major is given two flats instead of two sharps.
Written key signature for a transposing part: written key moved toward concert pitch · case 05
A Bb clarinet part (written a whole step up) for C major is given two flats instead of two sharps.
Written key signature for a transposing part: impossible flat concert keys accepted · case 01
A concert signature of -8 flats is accepted and transposed instead of rejected.
Written key signature for a transposing part: impossible flat concert keys accepted · case 02
A concert signature of -8 flats is accepted and transposed instead of rejected.
Written key signature for a transposing part: impossible flat concert keys accepted · case 03
A concert signature of -8 flats is accepted and transposed instead of rejected.
Written key signature for a transposing part: impossible flat concert keys accepted · case 04
A concert signature of -8 flats is accepted and transposed instead of rejected.
Written key signature for a transposing part: impossible flat concert keys accepted · case 05
A concert signature of -8 flats is accepted and transposed instead of rejected.
Chord symbol to pitch classes: flat roots not recognised · case 01
Bb, Ebmaj7 and every other flat-rooted symbol is rejected because the b is read as part of the quality.
Chord symbol to pitch classes: flat roots not recognised · case 02
Bb, Ebmaj7 and every other flat-rooted symbol is rejected because the b is read as part of the quality.
Chord symbol to pitch classes: flat roots not recognised · case 03
Bb, Ebmaj7 and every other flat-rooted symbol is rejected because the b is read as part of the quality.
Chord symbol to pitch classes: flat roots not recognised · case 04
Bb, Ebmaj7 and every other flat-rooted symbol is rejected because the b is read as part of the quality.
Chord symbol to pitch classes: flat roots not recognised · case 05
Bb, Ebmaj7 and every other flat-rooted symbol is rejected because the b is read as part of the quality.
Chord symbol to pitch classes: slash bass duplicated · case 01
C/E returns [4,0,4,7] with the third listed twice instead of [4,0,7].
Chord symbol to pitch classes: slash bass duplicated · case 02
C/E returns [4,0,4,7] with the third listed twice instead of [4,0,7].
Chord symbol to pitch classes: slash bass duplicated · case 03
C/E returns [4,0,4,7] with the third listed twice instead of [4,0,7].
Chord symbol to pitch classes: slash bass duplicated · case 04
C/E returns [4,0,4,7] with the third listed twice instead of [4,0,7].
Chord symbol to pitch classes: slash bass duplicated · case 05
C/E returns [4,0,4,7] with the third listed twice instead of [4,0,7].
Chord symbol to pitch classes: trailing text after slash bass ignored · case 01
Symbols like C/Ebm or C/E/G are accepted as if the bass were plain Eb or E.
Chord symbol to pitch classes: trailing text after slash bass ignored · case 02
Symbols like C/Ebm or C/E/G are accepted as if the bass were plain Eb or E.
Chord symbol to pitch classes: trailing text after slash bass ignored · case 03
Symbols like C/Ebm or C/E/G are accepted as if the bass were plain Eb or E.
Chord symbol to pitch classes: trailing text after slash bass ignored · case 04
Symbols like C/Ebm or C/E/G are accepted as if the bass were plain Eb or E.
Chord symbol to pitch classes: trailing text after slash bass ignored · case 05
Symbols like C/Ebm or C/E/G are accepted as if the bass were plain Eb or E.
Chord symbol to pitch classes: chord tones above B not wrapped · case 01
An A major triad returns [9,13,16] instead of [9,1,4].
Chord symbol to pitch classes: chord tones above B not wrapped · case 02
An A major triad returns [9,13,16] instead of [9,1,4].
Chord symbol to pitch classes: chord tones above B not wrapped · case 03
An A major triad returns [9,13,16] instead of [9,1,4].
Chord symbol to pitch classes: chord tones above B not wrapped · case 04
An A major triad returns [9,13,16] instead of [9,1,4].
Chord symbol to pitch classes: chord tones above B not wrapped · case 05
An A major triad returns [9,13,16] instead of [9,1,4].
Roman numeral label for a chord in a key: augmented chords written lowercase · case 01
An augmented mediant in minor is labelled iii+ instead of III+.
Roman numeral label for a chord in a key: augmented chords written lowercase · case 02
An augmented mediant in minor is labelled iii+ instead of III+.
Roman numeral label for a chord in a key: augmented chords written lowercase · case 03
An augmented mediant in minor is labelled iii+ instead of III+.
Roman numeral label for a chord in a key: augmented chords written lowercase · case 04
An augmented mediant in minor is labelled iii+ instead of III+.
Roman numeral label for a chord in a key: augmented chords written lowercase · case 05
An augmented mediant in minor is labelled iii+ instead of III+.
Roman numeral label for a chord in a key: flat prefix attached to the degree below · case 01
The borrowed flat-six chord in C major is labelled bV instead of bVI.
Roman numeral label for a chord in a key: flat prefix attached to the degree below · case 02
The borrowed flat-six chord in C major is labelled bV instead of bVI.
Roman numeral label for a chord in a key: flat prefix attached to the degree below · case 03
The borrowed flat-six chord in C major is labelled bV instead of bVI.
Roman numeral label for a chord in a key: flat prefix attached to the degree below · case 04
The borrowed flat-six chord in C major is labelled bV instead of bVI.
Roman numeral label for a chord in a key: flat prefix attached to the degree below · case 05
The borrowed flat-six chord in C major is labelled bV instead of bVI.
Roman numeral label for a chord in a key: leading-tone chord in minor given a sharp prefix · case 01
In A minor the G# diminished chord is labelled #vii° instead of vii°.
Roman numeral label for a chord in a key: leading-tone chord in minor given a sharp prefix · case 02
In A minor the G# diminished chord is labelled #vii° instead of vii°.
Roman numeral label for a chord in a key: leading-tone chord in minor given a sharp prefix · case 03
In A minor the G# diminished chord is labelled #vii° instead of vii°.
Roman numeral label for a chord in a key: leading-tone chord in minor given a sharp prefix · case 04
In A minor the G# diminished chord is labelled #vii° instead of vii°.
Roman numeral label for a chord in a key: leading-tone chord in minor given a sharp prefix · case 05
In A minor the G# diminished chord is labelled #vii° instead of vii°.
Roman numeral label for a chord in a key: diminished quality marker dropped · case 01
The leading-tone chord in C major is labelled vii with no diminished marker.
Roman numeral label for a chord in a key: diminished quality marker dropped · case 02
The leading-tone chord in C major is labelled vii with no diminished marker.
Roman numeral label for a chord in a key: diminished quality marker dropped · case 03
The leading-tone chord in C major is labelled vii with no diminished marker.
Roman numeral label for a chord in a key: diminished quality marker dropped · case 04
The leading-tone chord in C major is labelled vii with no diminished marker.
Roman numeral label for a chord in a key: diminished quality marker dropped · case 05
The leading-tone chord in C major is labelled vii with no diminished marker.
INSPECTABLE BY DESIGN
Every result has a runnable source.
Runnable implementations with recorded outputs, source hashes, and explicit contracts. Related variants share a failure mechanism and belong together in evaluation splits.
Read the methodology ↗