diff --git a/docs/tutorials/at.md b/docs/tutorials/at.md
index c5510f1..aaeea75 100644
--- a/docs/tutorials/at.md
+++ b/docs/tutorials/at.md
@@ -13,10 +13,17 @@ Every step has a duration. By default, sounds emit at the very start of that dur
 Push multiple values before calling `at` to get multiple emits from a single `.`:
 
 ```forth
-0 0.5 at kick s .       ;; two kicks: one at start, one at midpoint
-0 0.25 0.5 0.75 at hat s .   ;; four hats, evenly spaced
+0 0.5 at kick s .
 ```
 
+Two kicks: one at start, one at midpoint.
+
+```forth
+0 0.25 0.5 0.75 at hat s .
+```
+
+Four hats, evenly spaced.
+
 The deltas persist across multiple `.` calls until `clear` or a new `at`:
 
 ```forth
@@ -33,10 +40,10 @@ Without `arp`, deltas multiply with polyphonic voices. If you have 3 notes and 2
 
 ```forth
 0 0.5 at
-c4 e4 g4 note sine s .   ;; 6 emits: 3 notes x 2 deltas
+c4 e4 g4 note 1.5 decay sine s .
 ```
 
-This is a chord played twice per step.
+6 emits: 3 notes x 2 deltas. A chord played twice per step.
 
 ## 1:1 Pairing: at With arp
 
@@ -44,16 +51,20 @@ This is a chord played twice per step.
 
 ```forth
 0 0.33 0.66 at
-c4 e4 g4 arp note sine s .   ;; c4 at 0, e4 at 0.33, g4 at 0.66
+c4 e4 g4 arp note 0.5 decay sine s .
 ```
 
+C4 at 0, E4 at 0.33, G4 at 0.66.
+
 If the lists differ in length, the shorter one wraps around:
 
 ```forth
 0 0.25 0.5 0.75 at
-c4 e4 arp note sine s .       ;; c4, e4, c4, e4 at 4 time points
+c4 e4 arp note 0.3 decay sine s .
 ```
 
+C4, E4, C4, E4 — the shorter list wraps to fill 4 time points.
+
 This is THE key distinction. Without `arp`: every note at every time. With `arp`: one note per time slot.
 
 ## Generating Deltas
@@ -89,12 +100,18 @@ Geometric spacing via `geom..`:
 Wrap `at` expressions in quotations for conditional timing:
 
 ```forth
-( 0 0.25 0.5 0.75 at ) 2 every    ;; 16th-note hats every other bar
+( 0 0.25 0.5 0.75 at ) 2 every
 hat s .
+```
 
-( 0 0.5 at ) 0.5 chance           ;; 50% chance of double-hit
+16th-note hats every other bar.
+
+```forth
+( 0 0.5 at ) 0.5 chance
 kick s .
 ```
 
+50% chance of double-hit.
+
 When the quotation doesn't execute, no deltas are set -- you get the default single emit at beat start.
 
diff --git a/docs/tutorials/harmony.md b/docs/tutorials/harmony.md
index 5f4ba82..6d9f9fd 100644
--- a/docs/tutorials/harmony.md
+++ b/docs/tutorials/harmony.md
@@ -1,46 +1,46 @@
 # Notes & Harmony
 
-Cagire speaks music theory. Notes, intervals, chords, and scales are all first-class words that compile to stack operations on MIDI values. This tutorial covers every pitch-related feature.
+This tutorial covers everything pitch-related: notes, intervals, chords, voicings, transposition, scales, and diatonic harmony. Each section builds on the previous one.
 
-## MIDI Notes
+## Notes
 
-Write a note name followed by an octave number. It compiles to a MIDI integer:
+A note name followed by an octave number compiles to a MIDI integer:
 
 ```forth
-c4        ;; 60 (middle C)
-a4        ;; 69 (concert A)
-e3        ;; 52
+c4 note sine s .
 ```
 
-Sharps use `s` or `#`. Flats use `b`:
+That plays middle C (MIDI 60). `a4` is concert A (69), `e3` is 52. Sharps use `s` or `#`, flats use `b`:
 
 ```forth
-fs4       ;; 66 (F sharp 4)
-f#4       ;; 66 (same thing)
-bb3       ;; 58 (B flat 3)
-eb4       ;; 63
+fs4 note 0.5 decay saw s .
 ```
 
-Octave range is -1 to 9. The formula is `(octave + 1) * 12 + base + modifier`, where C=0, D=2, E=4, F=5, G=7, A=9, B=11.
-
-Note literals push a single integer onto the stack, just like writing `60` directly. They work everywhere an integer works:
-
 ```forth
-c4 note sine s .            ;; play middle C as a sine
-a4 note 0.5 gain modal s .  ;; concert A, quieter
+eb4 note 0.8 decay tri s .
 ```
 
+`fs4` and `f#4` both mean F sharp 4 (MIDI 66). `bb3` is B flat 3 (58). Octave range is -1 to 9.
+
+Notes are just integers. They work anywhere an integer works — you can do arithmetic on them, store them in variables, pass them to any word that expects a number.
+
 ## Intervals
 
-An interval duplicates the top of the stack and adds semitones. This lets you build chords by stacking:
+An interval duplicates the top of the stack and adds semitones. Stack two intervals to build a chord by hand:
 
 ```forth
-c4 M3 P5       ;; stack: 60 64 67 (C major triad)
-c4 m3 P5       ;; stack: 60 63 67 (C minor triad)
-a3 P5           ;; stack: 57 64 (A plus a fifth)
+c4 M3 P5 note 1.5 decay sine s .
 ```
 
-Simple intervals (within one octave):
+That builds a C major triad from scratch: C4 (60), then a major third above (64), then a perfect fifth above the root (67). Three notes on the stack, all played together.
+
+```forth
+a3 m3 P5 note 1.2 decay va s .
+```
+
+A minor triad: A3, C4, E4.
+
+**Simple intervals** (within one octave):
 
 | Interval | Semitones | Name |
 |----------|-----------|------|
@@ -58,7 +58,7 @@ Simple intervals (within one octave):
 | `M7` | 11 | Major 7th |
 | `P8` | 12 | Octave |
 
-Compound intervals (beyond one octave):
+**Compound intervals** (beyond one octave):
 
 | Interval | Semitones |
 |----------|-----------|
@@ -75,108 +75,333 @@ Compound intervals (beyond one octave):
 | `M14` | 23 |
 | `P15` | 24 |
 
-## Chords
-
-Chord words take a root note and push all the chord tones. They eat the root and replace it with the full voicing:
+Custom voicings with wide intervals:
 
 ```forth
-c4 maj        ;; stack: 60 64 67
-c4 min7       ;; stack: 60 63 67 70
-c4 dom9       ;; stack: 60 64 67 70 74
+c3 P5 P8 M10 note 1.5 decay sine s .
 ```
 
-**Triads:**
+C3, G3, C4, E4 — an open-voiced C major spread across two octaves.
 
-| Word | Intervals | Example (C4) |
-|------|-----------|-------------|
-| `maj` | 0 4 7 | 60 64 67 |
-| `m` | 0 3 7 | 60 63 67 |
-| `dim` | 0 3 6 | 60 63 66 |
-| `aug` | 0 4 8 | 60 64 68 |
-| `sus2` | 0 2 7 | 60 62 67 |
-| `sus4` | 0 5 7 | 60 65 67 |
+## Chords
 
-**Seventh chords:**
-
-| Word | Intervals | Example (C4) |
-|------|-----------|-------------|
-| `maj7` | 0 4 7 11 | 60 64 67 71 |
-| `min7` | 0 3 7 10 | 60 63 67 70 |
-| `dom7` | 0 4 7 10 | 60 64 67 70 |
-| `dim7` | 0 3 6 9 | 60 63 66 69 |
-| `m7b5` | 0 3 6 10 | 60 63 66 70 |
-| `minmaj7` | 0 3 7 11 | 60 63 67 71 |
-| `aug7` | 0 4 8 10 | 60 64 68 70 |
-
-**Sixth chords:**
-
-| Word | Intervals | Example (C4) |
-|------|-----------|-------------|
-| `maj6` | 0 4 7 9 | 60 64 67 69 |
-| `min6` | 0 3 7 9 | 60 63 67 69 |
-
-**Extended chords:**
-
-| Word | Intervals | Example (C4) |
-|------|-----------|-------------|
-| `dom9` | 0 4 7 10 14 | 60 64 67 70 74 |
-| `maj9` | 0 4 7 11 14 | 60 64 67 71 74 |
-| `min9` | 0 3 7 10 14 | 60 63 67 70 74 |
-| `dom11` | 0 4 7 10 14 17 | 60 64 67 70 74 77 |
-| `min11` | 0 3 7 10 14 17 | 60 63 67 70 74 77 |
-| `dom13` | 0 4 7 10 14 21 | 60 64 67 70 74 81 |
-
-**Add chords:**
-
-| Word | Intervals | Example (C4) |
-|------|-----------|-------------|
-| `add9` | 0 4 7 14 | 60 64 67 74 |
-| `add11` | 0 4 7 17 | 60 64 67 77 |
-| `madd9` | 0 3 7 14 | 60 63 67 74 |
-
-**Altered dominants:**
-
-| Word | Intervals | Example (C4) |
-|------|-----------|-------------|
-| `dom7b9` | 0 4 7 10 13 | 60 64 67 70 73 |
-| `dom7s9` | 0 4 7 10 15 | 60 64 67 70 75 |
-| `dom7b5` | 0 4 6 10 | 60 64 66 70 |
-| `dom7s5` | 0 4 8 10 | 60 64 68 70 |
-
-Chord tones are varargs -- they eat the entire stack. So a chord word should come right after the root note:
+Chord words replace a root note with all the chord tones. They're shortcuts for what intervals do manually:
 
 ```forth
-c4 maj note sine s .    ;; plays all 3 notes as one chord
+c4 maj note 1.5 decay sine s .
+```
+
+That's the same C major triad, but in one word instead of `M3 P5`. A few more:
+
+```forth
+d3 min7 note 1.5 decay va s .
+```
+
+```forth
+e3 dom9 note 1.2 decay saw s .
+```
+
+```forth
+a3 sus2 note 1.5 decay tri s .
+```
+
+Common triads:
+
+| Word | Intervals |
+|------|-----------|
+| `maj` | 0 4 7 |
+| `m` | 0 3 7 |
+| `dim` | 0 3 6 |
+| `aug` | 0 4 8 |
+| `sus2` | 0 2 7 |
+| `sus4` | 0 5 7 |
+| `pwr` | 0 7 |
+
+Common seventh chords:
+
+| Word | Intervals |
+|------|-----------|
+| `maj7` | 0 4 7 11 |
+| `min7` | 0 3 7 10 |
+| `dom7` | 0 4 7 10 |
+| `dim7` | 0 3 6 9 |
+| `m7b5` | 0 3 6 10 |
+| `minmaj7` | 0 3 7 11 |
+| `aug7` | 0 4 8 10 |
+| `augmaj7` | 0 4 8 11 |
+| `7sus4` | 0 5 7 10 |
+
+Extended, add, altered, and other chord types are listed in the Reference section at the end.
+
+## Voicings
+
+Four words reshape chord voicings without changing the harmony.
+
+`inv` moves the bottom note up an octave (inversion):
+
+```forth
+c4 maj inv note 1.5 decay sine s .
+```
+
+The root C goes up, giving E4 G4 C5 — first inversion. Apply it twice for second inversion:
+
+```forth
+c4 maj inv inv note 1.5 decay sine s .
+```
+
+G4 C5 E5. `dinv` does the opposite — moves the top note down an octave:
+
+```forth
+c4 maj dinv note 1.5 decay sine s .
+```
+
+G3 C4 E4. The fifth drops below the root.
+
+`drop2` and `drop3` are jazz voicing techniques for four-note chords. `drop2` takes the second-from-top note and drops it an octave:
+
+```forth
+c4 maj7 drop2 note 1.2 decay va s .
+```
+
+From C4 E4 G4 B4, the G drops to G3: G3 C4 E4 B4. `drop3` drops the third-from-top:
+
+```forth
+c4 maj7 drop3 note 1.2 decay va s .
+```
+
+E drops to E3: E3 C4 G4 B4. These create wider, more open voicings common in jazz guitar and piano.
+
+## Transposition
+
+`tp` shifts every note on the stack by N semitones:
+
+```forth
+c4 maj 3 tp note 1.5 decay sine s .
+```
+
+C major transposed up 3 semitones becomes Eb major. Works with any number of notes:
+
+```forth
+c4 min7 -2 tp note 1.5 decay va s .
+```
+
+Shifts the whole chord down 2 semitones (Bb minor 7).
+
+`oct` shifts a single note by octaves:
+
+```forth
+c4 1 oct note 0.3 decay sine s .
+```
+
+C5 (one octave up). Useful for bass lines:
+
+```forth
+0 2 4 5 7 5 4 2 8 cycle minor note
+-2 oct 0.8 gain sine s .
 ```
 
 ## Scales
 
-Scale words convert a degree index into a MIDI note. The base note is C4 (MIDI 60). Degrees wrap around with octave transposition:
+Scale words convert a degree index into a MIDI note. By default the root is C4 (MIDI 60):
 
 ```forth
-0 major       ;; 60 (C4 -- degree 0)
-4 major       ;; 67 (G4 -- degree 4)
-7 major       ;; 72 (C5 -- degree 7, wraps to next octave)
--1 major      ;; 59 (B3 -- negative degrees go down)
+0 major note 0.5 decay sine s .
 ```
 
-Use scales with `cycle` or `rand` to walk through pitches:
+Degree 0 of the major scale: C4. Degrees wrap with octave transposition — degree 7 gives C5 (72), degree -1 gives B3 (59).
+
+Walk through a scale with `cycle`:
 
 ```forth
-0 1 2 3 4 5 6 7 8 cycle minor note sine s .
+0 1 2 3 4 5 6 7 8 cycle minor note 0.5 decay sine s .
 ```
 
-**Standard modes:**
+Random notes from a scale:
 
-| Word | Pattern (semitones) |
-|------|-------------------|
+```forth
+0 7 rand pentatonic note 0.8 decay va s .
+```
+
+### Setting the key
+
+By default scales are rooted at C4. Use `key!` to change the tonal center:
+
+```forth
+g3 key! 0 major note 0.5 decay sine s .
+```
+
+Now degree 0 is G3 (55) instead of C4. The key persists across steps until changed again:
+
+```forth
+a3 key! 0 3 5 7 3 cycle minor note 0.8 decay tri s .
+```
+
+A minor melody starting from A3.
+
+**Common modes:**
+
+| Word | Pattern |
+|------|---------|
 | `major` | 0 2 4 5 7 9 11 |
 | `minor` | 0 2 3 5 7 8 10 |
 | `dorian` | 0 2 3 5 7 9 10 |
 | `phrygian` | 0 1 3 5 7 8 10 |
 | `lydian` | 0 2 4 6 7 9 11 |
 | `mixolydian` | 0 2 4 5 7 9 10 |
-| `aeolian` | 0 2 3 5 7 8 10 |
+| `pentatonic` | 0 2 4 7 9 |
+| `minpent` | 0 3 5 7 10 |
+| `blues` | 0 3 5 6 7 10 |
+| `harmonicminor` | 0 2 3 5 7 8 11 |
+| `melodicminor` | 0 2 3 5 7 9 11 |
+
+Jazz, symmetric, and modal variant scales are listed in the Reference section.
+
+## Diatonic Harmony
+
+`triad` and `seventh` build chords from scale degrees. Instead of specifying a chord type, you get whatever chord the scale produces at that degree:
+
+```forth
+0 major triad note 1.5 decay sine s .
+```
+
+Degree 0 of the major scale, stacked in thirds: C E G — a major triad. The scale determines the chord quality automatically. Degree 1 gives D F A (minor), degree 4 gives G B D (major):
+
+```forth
+4 major triad note 1.5 decay sine s .
+```
+
+`seventh` adds a fourth note:
+
+```forth
+0 major seventh note 1.2 decay va s .
+```
+
+C E G B — Cmaj7. Degree 1 gives Dm7, degree 4 gives G7 (dominant). The diatonic context determines everything.
+
+Combine with `key!` to play diatonic chords in any key:
+
+```forth
+g3 key! 0 major triad note 1.5 decay sine s .
+```
+
+G major triad rooted at G3.
+
+A I-vi-IV-V chord progression using `pcycle`:
+
+```forth
+( 0 major seventh ) ( 5 major seventh )
+( 3 major seventh ) ( 4 major seventh ) 4 pcycle
+note 1.2 decay va s .
+```
+
+Combine with voicings for smoother voice leading:
+
+```forth
+( 0 major seventh ) ( 5 major seventh inv )
+( 3 major seventh ) ( 4 major seventh drop2 ) 4 pcycle
+note 1.5 decay va s .
+```
+
+Arpeggiate diatonic chords using `arp` (see the *Timing with at* tutorial for details on `arp`):
+
+```forth
+0 major seventh arp note 0.5 decay sine s .
+```
+
+## Frequency Conversion
+
+`mtof` converts a MIDI note to frequency in Hz. `ftom` does the reverse:
+
+```forth
+c4 mtof freq sine s .
+```
+
+Useful when a synth parameter expects Hz rather than MIDI.
+
+## Reference
+
+### All Chords
+
+**Triads:**
+
+| Word | Intervals |
+|------|-----------|
+| `maj` | 0 4 7 |
+| `m` | 0 3 7 |
+| `dim` | 0 3 6 |
+| `aug` | 0 4 8 |
+| `sus2` | 0 2 7 |
+| `sus4` | 0 5 7 |
+| `pwr` | 0 7 |
+
+**Seventh chords:**
+
+| Word | Intervals |
+|------|-----------|
+| `maj7` | 0 4 7 11 |
+| `min7` | 0 3 7 10 |
+| `dom7` | 0 4 7 10 |
+| `dim7` | 0 3 6 9 |
+| `m7b5` | 0 3 6 10 |
+| `minmaj7` | 0 3 7 11 |
+| `aug7` | 0 4 8 10 |
+| `augmaj7` | 0 4 8 11 |
+| `7sus4` | 0 5 7 10 |
+
+**Sixth chords:**
+
+| Word | Intervals |
+|------|-----------|
+| `maj6` | 0 4 7 9 |
+| `min6` | 0 3 7 9 |
+| `maj69` | 0 4 7 9 14 |
+| `min69` | 0 3 7 9 14 |
+
+**Extended chords:**
+
+| Word | Intervals |
+|------|-----------|
+| `dom9` | 0 4 7 10 14 |
+| `maj9` | 0 4 7 11 14 |
+| `min9` | 0 3 7 10 14 |
+| `9sus4` | 0 5 7 10 14 |
+| `dom11` | 0 4 7 10 14 17 |
+| `maj11` | 0 4 7 11 14 17 |
+| `min11` | 0 3 7 10 14 17 |
+| `dom13` | 0 4 7 10 14 21 |
+| `maj13` | 0 4 7 11 14 21 |
+| `min13` | 0 3 7 10 14 21 |
+
+**Add chords:**
+
+| Word | Intervals |
+|------|-----------|
+| `add9` | 0 4 7 14 |
+| `add11` | 0 4 7 17 |
+| `madd9` | 0 3 7 14 |
+
+**Altered dominants:**
+
+| Word | Intervals |
+|------|-----------|
+| `dom7b9` | 0 4 7 10 13 |
+| `dom7s9` | 0 4 7 10 15 |
+| `dom7b5` | 0 4 6 10 |
+| `dom7s5` | 0 4 8 10 |
+| `dom7s11` | 0 4 7 10 18 |
+
+### All Scales
+
+**Modes:**
+
+| Word | Pattern |
+|------|---------|
+| `major` | 0 2 4 5 7 9 11 |
+| `minor` / `aeolian` | 0 2 3 5 7 8 10 |
+| `dorian` | 0 2 3 5 7 9 10 |
+| `phrygian` | 0 1 3 5 7 8 10 |
+| `lydian` | 0 2 4 6 7 9 11 |
+| `mixolydian` | 0 2 4 5 7 9 10 |
 | `locrian` | 0 1 3 5 6 8 10 |
 
 **Pentatonic and blues:**
@@ -187,13 +412,6 @@ Use scales with `cycle` or `rand` to walk through pitches:
 | `minpent` | 0 3 5 7 10 |
 | `blues` | 0 3 5 6 7 10 |
 
-**Chromatic and whole tone:**
-
-| Word | Pattern |
-|------|---------|
-| `chromatic` | 0 1 2 3 4 5 6 7 8 9 10 11 |
-| `wholetone` | 0 2 4 6 8 10 |
-
 **Harmonic and melodic minor:**
 
 | Word | Pattern |
@@ -201,6 +419,13 @@ Use scales with `cycle` or `rand` to walk through pitches:
 | `harmonicminor` | 0 2 3 5 7 8 11 |
 | `melodicminor` | 0 2 3 5 7 9 11 |
 
+**Chromatic and whole tone:**
+
+| Word | Pattern |
+|------|---------|
+| `chromatic` | 0 1 2 3 4 5 6 7 8 9 10 11 |
+| `wholetone` | 0 2 4 6 8 10 |
+
 **Jazz / Bebop:**
 
 | Word | Pattern |
@@ -229,74 +454,3 @@ Use scales with `cycle` or `rand` to walk through pitches:
 | `lydianaug` | 0 2 4 6 8 9 11 |
 | `mixb6` | 0 2 4 5 7 8 10 |
 | `locrian2` | 0 2 3 5 6 8 10 |
-
-## Octave Shifting
-
-`oct` transposes a note by octaves:
-
-```forth
-c4 1 oct      ;; 72 (C5)
-c4 -1 oct     ;; 48 (C3)
-c4 2 oct      ;; 84 (C6)
-```
-
-Stack effect: `(note shift -- transposed)`. The shift is multiplied by 12 and added to the note.
-
-## Frequency Conversion
-
-`mtof` converts a MIDI note to frequency in Hz. `ftom` does the reverse:
-
-```forth
-69 mtof       ;; 440.0 (A4)
-60 mtof       ;; 261.63 (C4)
-440 ftom      ;; 69.0
-```
-
-Useful when a synth parameter expects Hz rather than MIDI:
-
-```forth
-c4 mtof freq sine s .
-```
-
-## Putting It Together
-
-A chord progression cycling every pattern iteration:
-
-```forth
-( c3 maj7 ) ( f3 maj7 ) ( g3 dom7 ) ( c3 maj7 ) 4 pcycle
-note sine s .
-```
-
-Arpeggiate a chord across the step's time divisions:
-
-```forth
-c4 min7 arp note 0.5 decay sine s .
-```
-
-Random notes from a scale:
-
-```forth
-0 7 rand minor note sine s .
-```
-
-A bass line walking scale degrees:
-
-```forth
-0 2 4 5 7 5 4 2 8 cycle minor note
--2 oct 0.8 gain sine s .
-```
-
-Chord voicings with random inversion:
-
-```forth
-e3 min9
-( ) ( 1 oct ) 2 choose
-note modal s .
-```
-
-Stacked intervals for custom voicings:
-
-```forth
-c3 P5 P8 M10    ;; C3, G3, C4, E4
-note sine s .
-```
\ No newline at end of file
diff --git a/docs/tutorials/randomness.md b/docs/tutorials/randomness.md
index d0f1903..8f1e754 100644
--- a/docs/tutorials/randomness.md
+++ b/docs/tutorials/randomness.md
@@ -7,21 +7,25 @@ Music needs surprise. A pattern that plays identically every time gets boring fa
 `coin` pushes 0 or 1 with equal probability:
 
 ```forth
-coin note sine s .    ;; either 0 or 1 as the note
+;; sometimes, reverb
+sine sound
+( 0.5 verb ) coin ?
+1 decay
+.
 ```
 
 `rand` takes a range and returns a random value. If both bounds are integers, the result is an integer. If either is a float, you get a float:
 
 ```forth
-60 72 rand note sine s .       ;; random MIDI note from 60 to 72
-0.3 0.9 rand gain sine s .     ;; random gain between 0.3 and 0.9
+60 72 rand note sine s .5 decay .   ;; random MIDI note from 60 to 72
+0.3 0.9 rand gain sine s .5 decay . ;; random gain between 0.3 and 0.9
 ```
 
 `exprand` and `logrand` give you weighted distributions. `exprand` is biased toward the low end, `logrand` toward the high end:
 
 ```forth
-200.0 8000.0 exprand freq sine s .   ;; mostly low frequencies
-200.0 8000.0 logrand freq sine s .   ;; mostly high frequencies
+200.0 8000.0 exprand freq sine s .5 decay . ;; mostly low frequencies
+200.0 8000.0 logrand freq sine s .5 decay . ;; mostly high frequencies
 ```
 
 These are useful for parameters where perception is logarithmic, like frequency and duration.
@@ -32,7 +36,7 @@ The probability words take a quotation and execute it with some chance. `chance`
 
 ```forth
 ( hat s . ) 0.25 chance    ;; 25% chance
-( hat s . ) 75 prob        ;; 75% chance
+( kick s . ) 75 prob        ;; 75% chance
 ```
 
 Named probability words save you from remembering numbers:
@@ -67,8 +71,8 @@ Use `?` and `!?` with `coin` for quick coin-flip decisions:
 `choose` picks randomly from n items on the stack:
 
 ```forth
-kick snare hat 3 choose s .    ;; random drum hit
-60 64 67 72 4 choose note sine s .    ;; random note from a set
+kick snare hat 3 choose s .                 ;; random drum hit
+60 64 67 72 4 choose note sine s .5 decay . ;; random note from a set
 ```
 
 When a chosen item is a quotation, it gets executed:
@@ -187,4 +191,4 @@ c4 0.4  e4 0.3  g4 0.2  b4 0.1  4 wchoose note
 modal s .
 ```
 
-The root note plays most often. Higher chord tones are rarer. Decay and harmonics vary continuously.
\ No newline at end of file
+The root note plays most often. Higher chord tones are rarer. Decay and harmonics vary continuously.