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                    "title": "What Are Cents? The Unit That Measures Small Pitch Differences",
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            "score": 23,
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            "topic": "rhythm",
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                "meter",
                "beat"
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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.",
            "topic": "tuning",
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            "excerpt": "A piano cannot retune between two chords, so its tuning has to work for every key in advance. Equal temperament is the arrangement that does that, and it earns the ability by making every fifth slightly narrow and every major third noticeably wide. The…",
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            "dek": "Parallel fifths and octaves are voices that move together and keep a perfect interval. Here is why strict voice leading forbids them and where the rule bends.",
            "topic": "counterpoint",
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            "excerpt": "Parallel fifths and octaves occur when two voices move in the same direction and stay a perfect fifth or octave apart from one chord to the next. Strict voice leading forbids them because perfect intervals fuse: the two lines blur into one sound and lose…",
            "score": 11,
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            "snippet": "…the next. Strict voice leading forbids them because perfect intervals fuse: the two lines blur into one sound and lose……"
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            "slug": "pythagorean-tuning",
            "title": "Pythagorean Tuning: How Stacked Pure Fifths Build a Scale",
            "dek": "Pythagorean tuning builds every interval from pure 3:2 fifths. Here is the seven-note scale it produces, its whole tones and semitones in cents, and the wolf fifth it leaves behind.",
            "topic": "tuning",
            "topic_name": "Tuning & Temperament",
            "tags": [
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                "just fifths",
                "temperament"
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            "level": "intermediate",
            "date": "2026-10-11",
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            "excerpt": "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 only from the numbers 2 and 3. The whole tone is 9:8, or…",
            "score": 11,
            "partial": true,
            "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 only from the number…"
        },
        {
            "slug": "transposing-instruments-explained",
            "title": "Transposing Instruments Explained: Written and Sounding Pitch",
            "dek": "A transposing instrument sounds a different pitch from the one on the page. The intervals for common instruments, and how to transpose a part.",
            "topic": "orchestration",
            "topic_name": "Orchestration",
            "tags": [
                "transposition",
                "orchestration",
                "written pitch"
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            "date": "2026-10-11",
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            "excerpt": "A transposing instrument sounds a different pitch from the one it reads. A B♭ clarinet playing a written C sounds B♭, a major second lower. The instrument’s name is the whole rule: it states the sounding pitch of written C, and every other transposition…",
            "score": 11,
            "partial": true,
            "snippet": "A transposing instrument sounds a different pitch from the one it reads. A B♭ clarinet playing a written C sounds B♭, a major second lower. The instrument’s name is the whole rule: it states the…"
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        {
            "slug": "what-are-cents",
            "title": "What Are Cents? The Unit That Measures Small Pitch Differences",
            "dek": "A cent is one hundredth of an equal-tempered semitone. Here is the formula, what the common intervals measure in cents, and what a tuner is showing you.",
            "topic": "tuning",
            "topic_name": "Tuning & Temperament",
            "tags": [
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                "tuning",
                "pitch measurement"
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            "excerpt": "A cent is one hundredth of an equal-tempered semitone, so an octave contains 1200 cents and a semitone contains 100. The unit is logarithmic: the number of cents between two pitches depends only on their frequency ratio, not on how many hertz separate them…",
            "score": 11,
            "partial": true,
            "snippet": "A cent is one hundredth of an equal-tempered semitone, so an octave contains 1200 cents and a semitone contains 100. The unit is logarithmic: the number of cents between two pitches depends only on…"
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            "slug": "canon-types-and-techniques",
            "title": "Canon Types and Techniques: Rounds to Crab Canons",
            "dek": "Strict and free canon, interval and time distance, inversion and crab canons: how canons work and how to write a singable one.",
            "topic": "counterpoint",
            "topic_name": "Counterpoint",
            "tags": [
                "canon",
                "imitation",
                "counterpoint"
            ],
            "level": "intermediate",
            "date": "2026-10-04",
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            "excerpt": "One melody becomes many when voices chase each other through it. Canon is the strictest form of imitation: the follower reproduces the leader exactly, offset in time and pitch, and the composer must craft a line that sounds right both alone and against its…",
            "score": 11,
            "partial": true,
            "snippet": "One melody becomes many when voices chase each other through it. Canon is the strictest form of imitation: the follower reproduces the leader exactly, offset in time and pitch, and the composer must…"
        },
        {
            "slug": "major-scale-formula",
            "title": "The Major Scale Formula: Whole and Half Steps Explained",
            "dek": "The major scale is seven notes spaced whole, whole, half, whole, whole, whole, half. Here is the formula, four scales built from it, and the sharps and flats it forces.",
            "topic": "fundamentals",
            "topic_name": "Fundamentals",
            "tags": [
                "major scale",
                "scale",
                "intervals",
                "key signature"
            ],
            "level": "intro",
            "date": "2026-10-11",
            "updated": null,
            "words": 1384,
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            "url": "https://musics.name/articles/major-scale-formula/",
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            "excerpt": "The major scale is a fixed sequence of steps: whole, whole, half, whole, whole, whole, half. A whole step is two semitones and a half step is one. Start the pattern on any note and you have a major scale on that note. The pattern does not change, so the notes…",
            "score": 8,
            "partial": true,
            "snippet": "The major scale is a fixed sequence of steps: whole, whole, half, whole, whole, whole, half. A whole step is two semitones and a half step is one. Start the pattern on any note and you have a major…"
        },
        {
            "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": [
                "harmonic series",
                "partials",
                "acoustics"
            ],
            "level": "intro",
            "date": "2026-10-11",
            "updated": "2026-10-11",
            "words": 1421,
            "reading_time_minutes": 7,
            "url": "https://musics.name/articles/the-harmonic-series/",
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            "json_url": "https://musics.name/api/article.json?slug=the-harmonic-series",
            "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": 6,
            "partial": true,
            "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…"
        },
        {
            "slug": "first-species-counterpoint",
            "title": "First Species Counterpoint, Rule by Rule",
            "dek": "Species counterpoint isolates one compositional decision at a time. First species isolates the hardest one: how to make two voices sound like two voices.",
            "topic": "counterpoint",
            "topic_name": "Counterpoint",
            "tags": [
                "species counterpoint",
                "voice leading",
                "two voices"
            ],
            "level": "intermediate",
            "date": "2026-09-25",
            "updated": null,
            "words": 1712,
            "reading_time_minutes": 9,
            "url": "https://musics.name/articles/first-species-counterpoint/",
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            "json_url": "https://musics.name/api/article.json?slug=first-species-counterpoint",
            "excerpt": "A cantus firmus is a tune with no accompaniment, eight to sixteen notes long, that moves mostly by step and comes to rest on its final. First species asks you to add exactly one note against each of those notes: two voices, both in whole notes, moving…",
            "score": 6,
            "partial": true,
            "snippet": "A cantus firmus is a tune with no accompaniment, eight to sixteen notes long, that moves mostly by step and comes to rest on its final. First species asks you to add exactly one note against each of…"
        },
        {
            "slug": "fugue-subject-and-answer",
            "title": "Fugue Subjects and Answers",
            "dek": "A fugue's opening notes commit the piece to more than a tune. The subject's shape and the answer's adjustment decide what can happen next.",
            "topic": "counterpoint",
            "topic_name": "Counterpoint",
            "tags": [
                "fugue",
                "subject",
                "answer"
            ],
            "level": "advanced",
            "date": "2026-09-25",
            "updated": null,
            "words": 1763,
            "reading_time_minutes": 9,
            "url": "https://musics.name/articles/fugue-subject-and-answer/",
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            "json_url": "https://musics.name/api/article.json?slug=fugue-subject-and-answer",
            "excerpt": "Almost every description of fugue begins by warning that fugue is not a form. The warning is necessary and usually wasted, because the terms that follow (subject, answer, countersubject, exposition, episode) get used as if they named fixed compartments. They…",
            "score": 6,
            "partial": true,
            "snippet": "Almost every description of fugue begins by warning that fugue is not a form. The warning is necessary and usually wasted, because the terms that follow (subject, answer, countersubject, exposition…"
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        {
            "slug": "imitation-and-invertible-counterpoint",
            "title": "Imitation and Invertible Counterpoint",
            "dek": "Imitation makes one idea serve two lines. Invertible counterpoint makes those lines interchangeable, and the arithmetic behind it is small enough to check.",
            "topic": "counterpoint",
            "topic_name": "Counterpoint",
            "tags": [
                "imitation",
                "canon",
                "invertible counterpoint"
            ],
            "level": "advanced",
            "date": "2026-09-25",
            "updated": null,
            "words": 1728,
            "reading_time_minutes": 9,
            "url": "https://musics.name/articles/imitation-and-invertible-counterpoint/",
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            "json_url": "https://musics.name/api/article.json?slug=imitation-and-invertible-counterpoint",
            "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…",
            "score": 6,
            "partial": true,
            "snippet": "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…"
        },
        {
            "slug": "meantone-and-well-temperament",
            "title": "Meantone and Well Temperament: Why Keys Used to Sound Different",
            "dek": "Quarter-comma meantone, the wolf fifth and the well temperaments in between: what keyboard tuning did to each key before equal temperament settled the argument.",
            "topic": "tuning",
            "topic_name": "Tuning & Temperament",
            "tags": [
                "temperament",
                "tuning",
                "keyboard"
            ],
            "level": "advanced",
            "date": "2026-09-25",
            "updated": "2026-10-11",
            "words": 1749,
            "reading_time_minutes": 9,
            "url": "https://musics.name/articles/meantone-and-well-temperament/",
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            "json_url": "https://musics.name/api/article.json?slug=meantone-and-well-temperament",
            "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…",
            "score": 6,
            "partial": true,
            "snippet": "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…"
        },
        {
            "slug": "music-after-tonality",
            "title": "After Tonality: What Composers Replaced It With",
            "dek": "When chromatic harmony outgrew the tonal hierarchy, composers tried serial rules, rhythm, folk modes, and sound mass. What each method actually solved.",
            "topic": "history",
            "topic_name": "Music History",
            "tags": [
                "atonality",
                "serialism",
                "modernism"
            ],
            "level": "advanced",
            "date": "2026-09-25",
            "updated": null,
            "words": 1482,
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            "url": "https://musics.name/articles/music-after-tonality/",
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            "json_url": "https://musics.name/api/article.json?slug=music-after-tonality",
            "excerpt": "The tonal system was not abandoned because composers got bored of it. It was abandoned, in a handful of works written between roughly 1908 and 1923, because the chromatic language that had been built on top of it could no longer be explained by it. What…",
            "score": 6,
            "partial": true,
            "snippet": "The tonal system was not abandoned because composers got bored of it. It was abandoned, in a handful of works written between roughly 1908 and 1923, because the chromatic language that had been built…"
        }
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}