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                    "description": "…y signature does not give. Unlike a secondary dominant, the chord is not pointing at another key: F minor is the subdominant of C minor, and C minor is C major’s parallel mode. The tonic has not……",
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                    "title": "Roman Numeral Analysis: How to Label a Chord Progression",
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                    "description": "Roman numeral analysis labels each chord by the scale degree of its root, and the case of the numeral shows whether the chord is major or minor. In C major, the progression C, Am, F, G is I, vi, IV, V. The numerals descr…",
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                    "title": "The Neapolitan Sixth Chord: Sound, Spelling, Resolution",
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                    "description": "Few chords announce themselves as clearly as the Neapolitan sixth. One lowered note in the bass, a major triad glowing against a minor key, and the phrase turns toward a cadence of unusual gravity. It is the most audible…",
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                    "description": "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 th…",
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                    "title": "The ii V I Progression in Major, Minor and Jazz Styles",
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                    "description": "…of tonal motion, predominant to dominant to tonic, in three chords, and it appears in Baroque arias, Mozart sonatas, wedding gigs, and bebop heads with equal comfort. #The……",
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                    "description": "…ns an F sharp. The key signature does not supply it and the chord is not an error. For as long as it sounds, the music treats G as a temporary tonic, and the D major triad is the dominant of that temporary tonic. Analysi…",
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                    "kind": "article",
                    "title": "Church Modes From Dorian to Locrian: A Practical Guide",
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                    "description": "Major and minor feel like the only options until a melody settles somewhere stranger. The church modes name those other settlements: six diatonic rotations, each with its own final, its own color…",
                    "score": 36
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                    "description": "A barre chord is an open chord played higher on the neck, with one finger lying across several strings to take the place of the nut. The E shape and the A shape are the two to learn first, because each one is an open cho…",
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                    "kind": "article",
                    "title": "Chord Extensions Explained: Ninths, Elevenths and Thirteenths",
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                    "description": "Extensions are the chord tones that continue the stack of thirds past the seventh. In C they are D (the ninth), F (the eleventh) and A (the thirteenth). The chord symbol names the highest extension, and the notes below i…",
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                    "kind": "article",
                    "title": "Chord-Scale Theory Explained: Which Scale Fits Which Chord",
                    "url": "https://musics.name/articles/chord-scale-theory/",
                    "description": "Chord-scale theory gives each chord quality one first-choice scale: the set of notes an improviser draws on while that chord sounds. Those notes come from the chord itself, so they blend with it. The few notes that diffe…",
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                {
                    "kind": "article",
                    "title": "Chord Symbols Explained: Major, Minor, Seventh and Slash Chords",
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                    "description": "A chord symbol gives the root, the quality, any extra notes and, after a slash, the bass note. C is a C major triad (C, E, G). Cm is a C minor triad (C, Eb, G). C7 adds a minor seventh (Bb), and Cmaj7 adds a major sevent…",
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                    "title": "How to Write a Melody Over Chords, Note by Note",
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                    "description": "A melody over chords works when its strong beats agree with the harmony and its weak beats move by step. Chord tones on the strong beats tell the listener which chord is sounding, and the notes between them give the line…",
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                    "title": "Jazz Chord Voicings: Shell and Rootless Voicings Explained",
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                    "description": "…ng is three notes: the root, the third and the seventh of a chord. A rootless voicing drops the root as well, and often the fifth, and builds on the third or the seventh instead. Both keep the notes that define the chord…",
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                    "kind": "article",
                    "title": "Non-Chord Tones: Passing, Neighbour, Suspension and More",
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                    "description": "A non-chord tone is a note that sounds over a chord without belonging to it. Its type is set by how it is approached and how it leaves: passing and neighbour tones move by step, appoggiaturas arrive by leap and leave by…",
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                    "kind": "article",
                    "title": "Reading Guitar Tabs and Chord Diagrams for Beginners",
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                    "description": "Adding a seventh to a triad changes what the chord is for. A triad can sit still; a seventh chord cannot, because the added note is a dissonance with a destination. That single fact explains the behaviour of every diaton…",
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            "title": "Borrowed Chords: Modal Mixture in Practice",
            "dek": "Mixture borrows chords from the parallel mode. What the common borrowed chords do to a phrase, how they resolve, and where labelling fails.",
            "topic": "harmony",
            "topic_name": "Harmony",
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            "excerpt": "An F minor triad in C major requires an A flat, which the key signature does not give. Unlike a secondary dominant, the chord is not pointing at another key: F minor is the subdominant of C minor, and C minor is C major’s parallel mode. The tonic has not…",
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            "dek": "The chord loops that songwriters reuse most, in Roman numerals and in the keys of C and G, with the reasons they work and how to vary them.",
            "topic": "songwriting",
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            "excerpt": "A common chord progression is a short loop of chords, usually four, that repeats under a melody. Many of the most reused loops share three features. Their roots move by fourths and fifths at least some of the time, neighbouring chords share notes, and the…",
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            "slug": "roman-numeral-analysis",
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            "dek": "Roman numerals label each chord by the scale degree of its root and its quality. Here is a step-by-step method, with I vi IV V worked in C and G.",
            "topic": "harmony",
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                "harmonic analysis",
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            "excerpt": "Roman numeral analysis labels each chord by the scale degree of its root, and the case of the numeral shows whether the chord is major or minor. In C major, the progression C, Am, F, G is I, vi, IV, V. The numerals describe how each chord relates to the key…",
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            "snippet": "Roman numeral analysis labels each chord by the scale degree of its root, and the case of the numeral shows whether the chord is major or minor. In C major, the progression C, Am, F, G is I, vi, IV, V. The numerals descr…"
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            "dek": "The flat-II chord that darkens minor keys: how the Neapolitan sixth is built, voiced, resolved, and used from Bach to Schubert.",
            "topic": "harmony",
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                "chromatic harmony",
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            "excerpt": "Few chords announce themselves as clearly as the Neapolitan sixth. One lowered note in the bass, a major triad glowing against a minor key, and the phrase turns toward a cadence of unusual gravity. It is the most audible chromatic predominant in the tonal…",
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            "snippet": "Few chords announce themselves as clearly as the Neapolitan sixth. One lowered note in the bass, a major triad glowing against a minor key, and the phrase turns toward a cadence of unusual gravity. It is the most audible…"
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            "slug": "tritone-substitution",
            "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",
            "topic_name": "Harmony",
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                "tritone substitution",
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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": 45,
            "partial": false,
            "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 sliding one while th…"
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        {
            "slug": "ii-v-i-progression",
            "title": "The ii V I Progression in Major, Minor and Jazz Styles",
            "dek": "Why ii V I is the backbone of tonal music: voice leading, turnarounds, minor-key forms, and the jazz reharm toolkit.",
            "topic": "harmony",
            "topic_name": "Harmony",
            "tags": [
                "ii-V-I",
                "chord progression",
                "jazz harmony"
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            "level": "intermediate",
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            "excerpt": "One progression underlies more music than any other. The ii V I carries the full logic of tonal motion, predominant to dominant to tonic, in three chords, and it appears in Baroque arias, Mozart sonatas, wedding gigs, and bebop heads with equal comfort. #The…",
            "score": 38,
            "partial": false,
            "snippet": "…of tonal motion, predominant to dominant to tonic, in three chords, and it appears in Baroque arias, Mozart sonatas, wedding gigs, and bebop heads with equal comfort. #The……"
        },
        {
            "slug": "romantic-chromaticism",
            "title": "Romantic Chromaticism and the Expanding Tonic",
            "dek": "Chromatic harmony widened a key without leaving it: the resources that do the work, the Tristan chord, and how to analyse it without over-labelling.",
            "topic": "history",
            "topic_name": "Music History",
            "tags": [
                "chromaticism",
                "harmony",
                "nineteenth century"
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            "level": "advanced",
            "date": "2026-09-25",
            "updated": null,
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            "excerpt": "Nineteenth-century harmony is usually described as chromatic, and the word hides the important part. A chromatic passage is not a passage that has left its key. It is a passage that has widened the key until it includes notes and chords the older vocabulary…",
            "score": 38,
            "partial": false,
            "snippet": "…assage that has widened the key until it includes notes and chords the older vocabulary……"
        },
        {
            "slug": "secondary-dominants",
            "title": "Secondary Dominants and How Tonicization Works",
            "dek": "A secondary dominant makes any chord a temporary tonic. How to spell one, where it turns up, and what cancels the effect.",
            "topic": "harmony",
            "topic_name": "Harmony",
            "tags": [
                "secondary dominant",
                "tonicization",
                "chromatic harmony"
            ],
            "level": "intermediate",
            "date": "2026-09-25",
            "updated": null,
            "words": 1292,
            "reading_time_minutes": 6,
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            "excerpt": "In C major, a D major triad contains an F sharp. The key signature does not supply it and the chord is not an error. For as long as it sounds, the music treats G as a temporary tonic, and the D major triad is the dominant of that temporary tonic. Analysis…",
            "score": 37,
            "partial": false,
            "snippet": "…ns an F sharp. The key signature does not supply it and the chord is not an error. For as long as it sounds, the music treats G as a temporary tonic, and the D major triad is the dominant of that temporary tonic. Analysi…"
        },
        {
            "slug": "church-modes-dorian-to-locrian",
            "title": "Church Modes From Dorian to Locrian: A Practical Guide",
            "dek": "Dorian, Phrygian, Lydian, Mixolydian, Aeolian and Locrian explained by pattern and color, with hearing tips and modern uses.",
            "topic": "fundamentals",
            "topic_name": "Fundamentals",
            "tags": [
                "modes",
                "scales",
                "melody"
            ],
            "level": "intermediate",
            "date": "2026-10-04",
            "updated": null,
            "words": 1307,
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            "json_url": "https://musics.name/api/article.json?slug=church-modes-dorian-to-locrian",
            "excerpt": "Major and minor feel like the only options until a melody settles somewhere stranger. The church modes name those other settlements: six diatonic rotations, each with its own final, its own color notes, and its own repertoire from chant to jazz. #The seven…",
            "score": 36,
            "partial": false,
            "snippet": "Major and minor feel like the only options until a melody settles somewhere stranger. The church modes name those other settlements: six diatonic rotations, each with its own final, its own color…"
        },
        {
            "slug": "relative-and-parallel-keys",
            "title": "Relative and Parallel Keys Explained: Major and Minor Partners",
            "dek": "A major key has two close minor partners. The relative minor shares its key signature, the parallel minor shares its tonic, and each pair connects keys in a different way.",
            "topic": "fundamentals",
            "topic_name": "Fundamentals",
            "tags": [
                "relative key",
                "parallel key",
                "minor key",
                "key signature"
            ],
            "level": "intro",
            "date": "2026-10-11",
            "updated": null,
            "words": 1390,
            "reading_time_minutes": 7,
            "url": "https://musics.name/articles/relative-and-parallel-keys/",
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            "json_url": "https://musics.name/api/article.json?slug=relative-and-parallel-keys",
            "excerpt": "A major key has two minor partners that are easy to confuse. The relative minor uses the same key signature and starts a minor third below the major tonic: A minor for C major. The parallel minor starts on the same tonic and changes the mode: C minor for C…",
            "score": 33,
            "partial": false,
            "snippet": "A major key has two minor partners that are easy to confuse. The relative minor uses the same key signature and starts a minor third below the major tonic: A minor for C major. The parallel minor…"
        },
        {
            "slug": "barre-chords-e-shape-a-shape",
            "title": "Barre Chords Explained: The E Shape and the A Shape",
            "dek": "A barre chord is an open chord moved up the neck. The E shape and the A shape are the two to learn first, and each one is built from its open chord by a simple rule of offsets.",
            "topic": "guitar",
            "topic_name": "Guitar & Fretboard",
            "tags": [
                "barre chord",
                "guitar chords",
                "moveable shapes"
            ],
            "level": "intro",
            "date": "2026-10-11",
            "updated": null,
            "words": 1490,
            "reading_time_minutes": 7,
            "url": "https://musics.name/articles/barre-chords-e-shape-a-shape/",
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            "json_url": "https://musics.name/api/article.json?slug=barre-chords-e-shape-a-shape",
            "excerpt": "A barre chord is an open chord played higher on the neck, with one finger lying across several strings to take the place of the nut. The E shape and the A shape are the two to learn first, because each one is an open chord whose root sits on a known string…",
            "score": 29,
            "partial": true,
            "snippet": "A barre chord is an open chord played higher on the neck, with one finger lying across several strings to take the place of the nut. The E shape and the A shape are the two to learn first, because each one is an open cho…"
        },
        {
            "slug": "chord-extensions-ninths-elevenths-thirteenths",
            "title": "Chord Extensions Explained: Ninths, Elevenths and Thirteenths",
            "dek": "Ninths, elevenths and thirteenths are chord tones stacked above the seventh. Which of them fit a chord depends on its quality, and some clash with the third.",
            "topic": "jazz",
            "topic_name": "Jazz & Popular Harmony",
            "tags": [
                "chord extensions",
                "jazz harmony",
                "ninth chords"
            ],
            "level": "intermediate",
            "date": "2026-10-11",
            "updated": null,
            "words": 1403,
            "reading_time_minutes": 7,
            "url": "https://musics.name/articles/chord-extensions-ninths-elevenths-thirteenths/",
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            "json_url": "https://musics.name/api/article.json?slug=chord-extensions-ninths-elevenths-thirteenths",
            "excerpt": "Extensions are the chord tones that continue the stack of thirds past the seventh. In C they are D (the ninth), F (the eleventh) and A (the thirteenth). The chord symbol names the highest extension, and the notes below it are implied: C13 includes the seventh…",
            "score": 29,
            "partial": true,
            "snippet": "Extensions are the chord tones that continue the stack of thirds past the seventh. In C they are D (the ninth), F (the eleventh) and A (the thirteenth). The chord symbol names the highest extension, and the notes below i…"
        },
        {
            "slug": "chord-scale-theory",
            "title": "Chord-Scale Theory Explained: Which Scale Fits Which Chord",
            "dek": "Chord-scale theory pairs each chord quality with a scale whose notes fit it. This article gives the pairings, the spellings in C, and the notes to avoid.",
            "topic": "jazz",
            "topic_name": "Jazz & Popular Harmony",
            "tags": [
                "chord-scale theory",
                "improvisation",
                "modes"
            ],
            "level": "intermediate",
            "date": "2026-10-11",
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            "words": 1393,
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            "url": "https://musics.name/articles/chord-scale-theory/",
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            "excerpt": "Chord-scale theory gives each chord quality one first-choice scale: the set of notes an improviser draws on while that chord sounds. Those notes come from the chord itself, so they blend with it. The few notes that differ from the chord tones show which ones…",
            "score": 29,
            "partial": true,
            "snippet": "Chord-scale theory gives each chord quality one first-choice scale: the set of notes an improviser draws on while that chord sounds. Those notes come from the chord itself, so they blend with it. The few notes that diffe…"
        },
        {
            "slug": "chord-symbols-explained",
            "title": "Chord Symbols Explained: Major, Minor, Seventh and Slash Chords",
            "dek": "A chord symbol names the root, the quality, the extra notes and the bass. Here is how to read Cmaj7, C7, Cm7, C/E and C7b9, and the notes each one contains.",
            "topic": "harmony",
            "topic_name": "Harmony",
            "tags": [
                "chord symbols",
                "lead sheet",
                "seventh chords"
            ],
            "level": "intro",
            "date": "2026-10-11",
            "updated": null,
            "words": 1506,
            "reading_time_minutes": 8,
            "url": "https://musics.name/articles/chord-symbols-explained/",
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            "json_url": "https://musics.name/api/article.json?slug=chord-symbols-explained",
            "excerpt": "A chord symbol gives the root, the quality, any extra notes and, after a slash, the bass note. C is a C major triad (C, E, G). Cm is a C minor triad (C, Eb, G). C7 adds a minor seventh (Bb), and Cmaj7 adds a major seventh (B). Each symbol is a short…",
            "score": 29,
            "partial": true,
            "snippet": "A chord symbol gives the root, the quality, any extra notes and, after a slash, the bass note. C is a C major triad (C, E, G). Cm is a C minor triad (C, Eb, G). C7 adds a minor seventh (Bb), and Cmaj7 adds a major sevent…"
        },
        {
            "slug": "how-to-write-a-melody-over-chords",
            "title": "How to Write a Melody Over Chords, Note by Note",
            "dek": "Put chord tones on strong beats, approach tension notes by step, and keep the line singable. A worked melody over C, G, Am and F shows each choice.",
            "topic": "songwriting",
            "topic_name": "Songwriting & Composition",
            "tags": [
                "melody writing",
                "chord tones",
                "songwriting"
            ],
            "level": "intermediate",
            "date": "2026-10-11",
            "updated": null,
            "words": 1456,
            "reading_time_minutes": 7,
            "url": "https://musics.name/articles/how-to-write-a-melody-over-chords/",
            "markdown_url": "https://musics.name/articles/how-to-write-a-melody-over-chords.md",
            "json_url": "https://musics.name/api/article.json?slug=how-to-write-a-melody-over-chords",
            "excerpt": "A melody over chords works when its strong beats agree with the harmony and its weak beats move by step. Chord tones on the strong beats tell the listener which chord is sounding, and the notes between them give the line its direction. The worked example…",
            "score": 29,
            "partial": true,
            "snippet": "A melody over chords works when its strong beats agree with the harmony and its weak beats move by step. Chord tones on the strong beats tell the listener which chord is sounding, and the notes between them give the line…"
        },
        {
            "slug": "jazz-chord-voicings-shell-and-rootless",
            "title": "Jazz Chord Voicings: Shell and Rootless Voicings Explained",
            "dek": "Shell and rootless voicings keep the third and seventh of each chord and leave room for a bass player. Worked examples use Dm7, G7 and Cmaj7.",
            "topic": "jazz",
            "topic_name": "Jazz & Popular Harmony",
            "tags": [
                "chord voicing",
                "jazz harmony",
                "guide tones"
            ],
            "level": "intermediate",
            "date": "2026-10-11",
            "updated": null,
            "words": 1454,
            "reading_time_minutes": 7,
            "url": "https://musics.name/articles/jazz-chord-voicings-shell-and-rootless/",
            "markdown_url": "https://musics.name/articles/jazz-chord-voicings-shell-and-rootless.md",
            "json_url": "https://musics.name/api/article.json?slug=jazz-chord-voicings-shell-and-rootless",
            "excerpt": "A shell voicing is three notes: the root, the third and the seventh of a chord. A rootless voicing drops the root as well, and often the fifth, and builds on the third or the seventh instead. Both keep the notes that define the chord’s quality, so the harmony…",
            "score": 29,
            "partial": true,
            "snippet": "…ng is three notes: the root, the third and the seventh of a chord. A rootless voicing drops the root as well, and often the fifth, and builds on the third or the seventh instead. Both keep the notes that define the chord…"
        },
        {
            "slug": "non-chord-tones",
            "title": "Non-Chord Tones: Passing, Neighbour, Suspension and More",
            "dek": "A non-chord tone is a note that sounds over a chord without belonging to it. Here are the main types, how each is approached and left, and how to write them.",
            "topic": "harmony",
            "topic_name": "Harmony",
            "tags": [
                "non-chord tones",
                "melody",
                "voice leading"
            ],
            "level": "intermediate",
            "date": "2026-10-11",
            "updated": null,
            "words": 1437,
            "reading_time_minutes": 7,
            "url": "https://musics.name/articles/non-chord-tones/",
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            "json_url": "https://musics.name/api/article.json?slug=non-chord-tones",
            "excerpt": "A non-chord tone is a note that sounds over a chord without belonging to it. Its type is set by how it is approached and how it leaves: passing and neighbour tones move by step, appoggiaturas arrive by leap and leave by step, escape tones leave by leap, and…",
            "score": 29,
            "partial": true,
            "snippet": "A non-chord tone is a note that sounds over a chord without belonging to it. Its type is set by how it is approached and how it leaves: passing and neighbour tones move by step, appoggiaturas arrive by leap and leave by…"
        },
        {
            "slug": "reading-guitar-tabs-and-chord-diagrams",
            "title": "Reading Guitar Tabs and Chord Diagrams for Beginners",
            "dek": "Tab shows strings and frets rather than pitch names, and a chord diagram is a small grid of the same information. This explains both, with an arpeggio you can check against the fretboard.",
            "topic": "guitar",
            "topic_name": "Guitar & Fretboard",
            "tags": [
                "guitar tablature",
                "chord diagrams",
                "notation"
            ],
            "level": "intro",
            "date": "2026-10-11",
            "updated": null,
            "words": 1353,
            "reading_time_minutes": 7,
            "url": "https://musics.name/articles/reading-guitar-tabs-and-chord-diagrams/",
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            "json_url": "https://musics.name/api/article.json?slug=reading-guitar-tabs-and-chord-diagrams",
            "excerpt": "Guitar tablature is a set of six horizontal lines, one for each string, with a fret number written on the line where a note is played. The top line is the high E string and the bottom line is the low E string. A chord diagram is a small vertical grid in which…",
            "score": 29,
            "partial": true,
            "snippet": "…he high E string and the bottom line is the low E string. A chord diagram is a small vertical grid in which……"
        },
        {
            "slug": "suspended-chords-sus2-sus4",
            "title": "Suspended Chords: Sus2 and Sus4 Explained",
            "dek": "A sus chord swaps the third of a triad for the second or fourth. Here is what Csus2 and Csus4 contain, why neither is major or minor, and how they resolve.",
            "topic": "harmony",
            "topic_name": "Harmony",
            "tags": [
                "suspended chords",
                "sus4",
                "chord symbols"
            ],
            "level": "intro",
            "date": "2026-10-11",
            "updated": null,
            "words": 1357,
            "reading_time_minutes": 7,
            "url": "https://musics.name/articles/suspended-chords-sus2-sus4/",
            "markdown_url": "https://musics.name/articles/suspended-chords-sus2-sus4.md",
            "json_url": "https://musics.name/api/article.json?slug=suspended-chords-sus2-sus4",
            "excerpt": "A suspended chord replaces the third of a triad with the second or the fourth. Csus4 is C, F and G, and Csus2 is C, D and G. With no third, neither chord is major or minor, which gives them an open sound that the ear hears as incomplete until the third…",
            "score": 29,
            "partial": true,
            "snippet": "A suspended chord replaces the third of a triad with the second or the fourth. Csus4 is C, F and G, and Csus2 is C, D and G. With no third, neither chord is major or minor, which gives them an open sound that the ear hea…"
        },
        {
            "slug": "seventh-chords-and-resolution",
            "title": "Seventh Chords and How They Resolve in Tonal Harmony",
            "dek": "The chordal seventh falls, the leading tone rises, and the tritone at the centre of V7 resolves by step. What each diatonic seventh chord is for.",
            "topic": "harmony",
            "topic_name": "Harmony",
            "tags": [
                "seventh chords",
                "dominant seventh",
                "resolution"
            ],
            "level": "intermediate",
            "date": "2026-09-25",
            "updated": null,
            "words": 1458,
            "reading_time_minutes": 7,
            "url": "https://musics.name/articles/seventh-chords-and-resolution/",
            "markdown_url": "https://musics.name/articles/seventh-chords-and-resolution.md",
            "json_url": "https://musics.name/api/article.json?slug=seventh-chords-and-resolution",
            "excerpt": "Adding a seventh to a triad changes what the chord is for. A triad can sit still; a seventh chord cannot, because the added note is a dissonance with a destination. That single fact explains the behaviour of every diatonic seventh chord in tonal music…",
            "score": 29,
            "partial": true,
            "snippet": "Adding a seventh to a triad changes what the chord is for. A triad can sit still; a seventh chord cannot, because the added note is a dissonance with a destination. That single fact explains the behaviour of every diaton…"
        }
    ],
    "ranking": "Direct answers first (chord symbols, scale and key names are parsed). Then tools, keys, scales, chords, intervals, glossary and topics by title match; articles rank by title (12) > tags (6) > dek (5) > topic (3) > body frequency (max 6), +25 when every query token matches.",
    "html": "https://musics.name/search/?q=Borrowed%20chord",
    "generated_at": "2026-10-14T02:00:32+00:00"
}