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            "topic": "history",
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            "dek": "Six eighth notes per bar can group as 3+3 in 6/8 or 2+2+2 in 3/4. Accent, contour, hemiola and conducting show which grouping you are hearing.",
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            "excerpt": "Compound meter and simple meter can contain the same amount of time. A bar of 6/8 and a bar of 3/4 each hold six eighth-note units, and the difference lies in how those units are grouped. 6/8 groups them as two beats of three eighths. 3/4 groups them as three…",
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            "slug": "pythagorean-tuning",
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            "snippet": "Pythagorean tuning builds a scale from one interval: the pure perfect fifth, with the frequency ratio 3:2. Stack fifths, fold each note back into a single octave, and every pitch becomes a ratio made…"
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            "slug": "the-harmonic-series",
            "title": "The Harmonic Series: Why Octaves, Fifths and Thirds Come First",
            "dek": "A vibrating string or air column sounds a fundamental and a set of partials at whole-number multiples of it. Here are the first sixteen, their cents, and where they differ from equal temperament.",
            "topic": "acoustics",
            "topic_name": "Acoustics & Sound",
            "tags": [
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                "partials",
                "acoustics"
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            "excerpt": "A string or air column that sounds a note produces a fundamental, and it also vibrates in parts. Those parts sound partials at whole-number multiples of the fundamental frequency: f, 2f, 3f, 4f and so on. The collection is the harmonic series. Its first…",
            "score": 36,
            "partial": false,
            "snippet": "A string or air column that sounds a note produces a fundamental, and it also vibrates in parts. Those parts sound partials at whole-number multiples of the fundamental frequency: f, 2f, 3f, 4f and…"
        },
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            "slug": "ars-nova-and-renaissance-notation",
            "title": "From Ars Nova to the Renaissance: How Notation Changed Music",
            "dek": "Rhythm took two centuries longer than pitch to notate. Mensural notation solved it with ratios, and the Renaissance then replaced black ink with white.",
            "topic": "history",
            "topic_name": "Music History",
            "tags": [
                "notation",
                "mensural notation",
                "renaissance"
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            "excerpt": "A staff puts a note in pitch space, and position is cheap to draw. Duration is not a position but a relationship: a note is short only next to a longer one, and a page of polyphony has to state that relationship for every voice at once. European music had a…",
            "score": 36,
            "partial": false,
            "snippet": "A staff puts a note in pitch space, and position is cheap to draw. Duration is not a position but a relationship: a note is short only next to a longer one, and a page of polyphony has to state that…"
        },
        {
            "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"
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            "level": "intermediate",
            "date": "2026-09-25",
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            "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": 32,
            "partial": false,
            "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…"
        },
        {
            "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"
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            "level": "intermediate",
            "date": "2026-10-11",
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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": 31,
            "partial": false,
            "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…"
        },
        {
            "slug": "neapolitan-sixth-chord",
            "title": "The Neapolitan Sixth Chord: Sound, Spelling, Resolution",
            "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",
            "topic_name": "Harmony",
            "tags": [
                "neapolitan",
                "chromatic harmony",
                "cadence"
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            "level": "advanced",
            "date": "2026-10-04",
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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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            "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": "Strings speak through the bow, and every articulation mark is an instruction to the right arm. Arrangers who understand what each bowing asks physically write parts that play themselves; those who treat marks as decoration produce parts that fight back. #The…",
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            "dek": "Twelve equal semitones solve the problem pure intervals create. The cost is small in fifths, large in thirds, and paid by every fixed-pitch instrument.",
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            "excerpt": "A modern keyboard hides its compromise. Every key is equally in tune, which also means every key is equally out of tune, and a major third in C major is exactly the same size as a major third in F sharp major. Before the nineteenth century the compromise was…",
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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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            "title": "Swing Timing: What the Notation Does Not Say",
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