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            "excerpt": "Three words get used as if they meant the same thing in rehearsal: meter, time signature, beat. They are related and they are not the same, and the difference shows up exactly where the music becomes interesting, in syncopation, hemiola, and phrase endings…",
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            "dek": "A time signature gives beats per bar and the note value that counts as one beat. Simple meters split each beat in two, compound meters split it in three.",
            "topic": "rhythm",
            "topic_name": "Rhythm & Meter",
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            "excerpt": "A time signature has two numbers. The top number is the count of beats in each bar, and the bottom number names the note value that counts as one unit. In 3/4 a bar holds three quarter-note beats. In 6/8 it holds six eighth-note units, which listeners usually…",
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            "title": "Tritone Substitution: The subV7 Chord That Still Resolves",
            "dek": "Replace any dominant with the dominant a tritone away: why subV7 works, how it smooths bass lines, and where jazz standards hide it.",
            "topic": "harmony",
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            "excerpt": "Every dominant seventh chord has a twin a tritone away that shares its restless tritone and resolves to the same tonic. Tritone substitution swaps one twin for the other, trading a leaping bass for a sliding one while the resolution lands exactly where the…",
            "score": 38,
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            "snippet": "Every dominant seventh chord has a twin a tritone away that shares its restless tritone and resolves to the same tonic. Tritone substitution swaps one twin for the other, trading a leaping bass for a…"
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            "slug": "gregorian-chant-and-neumes",
            "title": "Gregorian Chant and Neumes: How Early Scribes Wrote Melody",
            "dek": "Gregorian chant is unaccompanied Latin liturgical song. Neumes were the signs that recorded its melodies, first showing only the direction of movement and later placed on lines.",
            "topic": "history",
            "topic_name": "Music History",
            "tags": [
                "gregorian chant",
                "neumes",
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            "level": "intro",
            "date": "2026-10-11",
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            "json_url": "https://musics.name/api/article.json?slug=gregorian-chant-and-neumes",
            "excerpt": "Gregorian chant is the body of unaccompanied, single-line Latin song that the Western Church sang in its liturgy. Its melodies were recorded in neumes, signs written above the text. The earliest surviving neumed manuscripts date from roughly the ninth…",
            "score": 37,
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            "snippet": "Gregorian chant is the body of unaccompanied, single-line Latin song that the Western Church sang in its liturgy. Its melodies were recorded in neumes, signs written above the text. The earliest surviving neumed manuscri…"
        },
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            "slug": "how-to-transcribe-music-by-ear",
            "title": "How to Transcribe Music by Ear: A Step-by-Step Procedure",
            "dek": "Transcribe by ear in a fixed order: key and bass first, then chords by root and quality, then the melody by scale degree, and rhythm last.",
            "topic": "practice",
            "topic_name": "Ear Training & Practice",
            "tags": [
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            "json_url": "https://musics.name/api/article.json?slug=how-to-transcribe-music-by-ear",
            "excerpt": "Transcribe in layers, in the order the harmony needs them: key, bass, chord roots, chord qualities, melody, and rhythm last. Check each layer on an instrument before you start the next. Write the chords as Roman numerals so the result transposes, and keep a…",
            "score": 37,
            "partial": false,
            "snippet": "Transcribe in layers, in the order the harmony needs them: key, bass, chord roots, chord qualities, melody, and rhythm last. Check each layer on an instrument before you start the next. Write the…"
        },
        {
            "slug": "note-values-rests-ties-and-dots",
            "title": "Note Values, Rests, Ties and Dots Explained",
            "dek": "Each note value is half the one above it. Whole to sixteenth notes and their rests, plus how dots, ties and beams change what you count.",
            "topic": "rhythm",
            "topic_name": "Rhythm & Meter",
            "tags": [
                "note values",
                "rhythm",
                "counting"
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            "level": "intro",
            "date": "2026-10-11",
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            "excerpt": "A note value says how long a note sounds in relation to the beat. Each value is half the length of the one above it: whole, half, quarter, eighth, sixteenth. Every value has a rest of the same length. A dot adds half the value, and a tie joins two notes of…",
            "score": 37,
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            "snippet": "A note value says how long a note sounds in relation to the beat. Each value is half the length of the one above it: whole, half, quarter, eighth, sixteenth. Every value has a rest of the same…"
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        {
            "slug": "reading-an-orchestral-score",
            "title": "Reading an Orchestral Score: Layout and a Method for First Reads",
            "dek": "An orchestral score stacks every part on one page. This covers the standard order of the families, the brackets and clefs, and a first-read method.",
            "topic": "orchestration",
            "topic_name": "Orchestration",
            "tags": [
                "score reading",
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            "excerpt": "Five and seven feel impossible until they feel obvious. Odd meters are not broken fours with beats missing; they are their own groove systems built from unequal beat groups, and once the groups sit in the body the counting takes care of itself. #Five as 3+2…",
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            "excerpt": "Two melodies that have nothing to do with each other can still be written together correctly, and the result will often sound like two people talking past each other. Imitation is the oldest solution to that problem: the second voice takes up the first…",
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