nope, no plans to release them. tx.
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It would generate inversions of chords to try an connect them “well”, but there was a user choice for this: {“DONT_CARE”, “DISCOURAGE_CONSECUTIVE”, “DISCOURAGE”}. The default was the middle option, where would freely generate inverted chords, but would try not to do two or more in a row. In all cases if it couldn’t generate a “valid” chord transition any other way it would still use an inversion.
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If you haven’t seen it, check out the Meander manual “Quickstart” section. This shows a bare bones patch that does harmony, melody and bass.
You are right, Meander does use chord inversions as you are interested in doing. The transitions may not always be the shortest (fewest finger-key shifts), but it is generally in that direction.
You may have seen in some of my earlier posts that I like to “Stay on I” circle of 5ths degree and use inversions and octave wandering to generate all of the music based on that single I chord.
I have a diagram similar to this I made and stuck it on my wall:
I thought I invented it, but turns out its been around for 3 centuries already 
It helps a lot for composition using chord inversions.
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Amalgamated Harmonics module Progress 2 might do (?).
I added this demo patch to my PS-PurrSoftware development topic in case you would like to easily try Meander out.
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I use harmony, I like it, it definitely makes nice chords.
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I think what you’re after is called voice leading.
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Exactly, and while Harmony explicitly uses 4 part voice leading, Meander mostly plays triad chords and uses chord inversions to prevent the chord progression from rising or falling in pitch range as the progressions steps around the circle of 5ths by 5ths or 4ths. So, the Meander algorithm tries to keep the chord in the same octave range regardless of which circle degree chord is played. Obviously, this cannot be done perfectly.
Meander does always force the chord tonic-root-bass note into the first channel of the harmony polyphonic output
Meander does use fractal Brownian motion (fBm or 1/f) stochastic time correlated noise to cause the harmony party to “meander” through the parameterized “target octave” and “octave range” at the .“variability” rate of change.
Melody generation is similar in use of the note meandering.
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Damn Euler, he is always first!
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As @k-chaffin points out, that is exactly what Harmony does/did. It has a rule base of maybe 10 rules for voice leading and tries to rd progressions that obey all those rules.
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By the way, I like Squinky’s 4 note voice leading chords so much that I often simulate this in my Meander patches by taking the triad chord polyphonic output, splitting it with SPLIT, taking the first channel bass note, adding 1V to it to raise the note by 1 octave, and then using MERGE to combine the 4 monophonic voices back into a polyphonic cable before sending to the harmony voice module.
It is also fun to take these 4 monophonic chord voices and feed them into sequential switches, etc and do all sorts of chord arpeggios and strumming, etc.
Of course Squinky’s Arpeggiator module does just this with the Harmony module channels.
Yeah, it seemed like some sort of arpeggiation of generated chords is a good idea, so that’s why I made that arp. But probably ppl already have their own way of doing this with switches or shift registers that may be better for a lot of use cases.
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But something I do all the time is take the output of VCV Chord and pass voices 2 - 4 through signal delays and then merge them. This turns a single chord into a one shot arpeggio. A recent post I made has an example:
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Yes, that is a good technique. There are of course things and arpeggiator can easily do that are very difficult to do that way. Initially I’m thinking of all the “arpeggiation mode”, like up&down, or inside-out, or random. They can all be patched with other module, but it would take work, and would be difficult to quickly switch from one to the other. And other stuff of course. None the less- the delay technique is cool.
I think Nysthi Rael could be used to get some very interesting variations in timing.
One technique that was interesting - and musically useful - delay the triggers but not the pitch CV. So then you get chord notes spaced out in time, but if the root note changes, you’re sampling notes from the current chord, not the previous one.
Of course it can be musically useful to delay pitch and gate both, just for the occasional momentary dissonance.
I am really sorry @Squinky that you can’t be tempted into finishing what you were working on.
I also have some cool ideas for a module you could pair with any polyphonic input to do this kind of manipulation. But I resist becoming a plugin developer. Maybe after I retire from coding for a living.
I don’t know how familiar you are with Autechre, but those guys are really Max/MSP programmers who build their own musical tools from scratch. I can see doing that, but I doubt I’ll start writing a plugin until I have wrung all the possibilities out of what we already have to play with.
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A couple of thousand modules taken 1 to 100 at a time. How many combinations and permutations could there be 
I don’t use a lot of modules because I couldn’t figure them out before I ran out of patience. So that limits the domain of modules to test somewhat. 
I know what you mean. But, I never did figure out how to balance work and play. Over my 40 years as a systems engineer and developer and R&D, I somehow always managed to turn my work into my hobbies and my hobbies into my work, so I would end up working on similar things all my waking hours. That was not always good for my health. Burnout was always an option and real possibility.
Meander has its roots in 1988 when I was doing semiconductor wafer fabrication plant modelling and simulation. In the daytime I developed wafer fab discrete event simulators and at night I developed music composition and performance discrete event schedulers and handlers. Prior to that I was doing expert systems at work and also Meander became an expert system.
So now being retired, I’m still doing the same thing and mixing music with theoretical physics.
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I’m sorry man, your post created an itch that I needed to scratch. 
I patched this up to try to get to what you are after:
Here is the VCV selection file:
Voice Leading.vcvs (13.9 KB)
It works quite well. So you just need to set the scale you are working in, set the low cut range note and high cut range note. If a note goes above the high cut it drops it an octave and if it goes below the low cut, it raises it an octave. Keeping all notes within a certain range.
I don’t have VCV chords, but you can just replace the bogaudio stacks with it.
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