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            "topic": "fundamentals",
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            "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…",
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            "slug": "natural-harmonic-melodic-minor",
            "title": "Natural, Harmonic and Melodic Minor Scales Compared",
            "dek": "Three minor scales, three different jobs. What each form changes, why composers switch between them, and how to hear the difference.",
            "topic": "fundamentals",
            "topic_name": "Fundamentals",
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                "melody",
                "tonality"
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            "excerpt": "Major has one scale and minor has three, which strikes beginners as unfair. The minor mode is better understood as a single flexible system where the sixth and seventh degrees move up or down depending on what the music needs. The three named forms are…",
            "score": 54,
            "partial": false,
            "snippet": "Major has one scale and minor has three, which strikes beginners as unfair. The minor mode is better understood as a single flexible system where the sixth and seventh degrees move up or down depending on what the music…"
        },
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            "slug": "diatonic-chords-in-major-and-minor",
            "title": "Diatonic Chords in Major and Minor Keys Explained",
            "dek": "Diatonic chords are the triads built on each scale degree from the key's own notes. Here are their qualities in major and minor, worked out in C and A.",
            "topic": "harmony",
            "topic_name": "Harmony",
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                "diatonic harmony",
                "triads",
                "scale degrees"
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            "excerpt": "The diatonic chords of a key are the triads built on each scale degree, using only the notes of that key’s scale. In C major they are C, Dm, Em, F, G, Am and B°. The natural minor scale gives a different set, Am, B°, C, Dm, Em, F and G, and the harmonic minor…",
            "score": 48,
            "partial": false,
            "snippet": "…In C major they are C, Dm, Em, F, G, Am and B°. The natural minor scale gives a different set, Am, B°, C, Dm, Em, F and G, and the harmonic minor……"
        },
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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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            "date": "2026-10-04",
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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…",
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            "partial": false,
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        },
        {
            "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"
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            "date": "2026-10-11",
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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": 43,
            "partial": false,
            "snippet": "…h, 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……"
        },
        {
            "slug": "diminished-and-half-diminished-sevenths",
            "title": "Diminished and Half-Diminished Sevenths Explained",
            "dek": "The fully diminished seventh is four notes stacked in minor thirds, and the half-diminished seventh is a diminished triad with a minor seventh. This is how each one spells and resolves in C.",
            "topic": "harmony",
            "topic_name": "Harmony",
            "tags": [
                "diminished seventh",
                "half-diminished",
                "seventh chords"
            ],
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            "date": "2026-10-29",
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            "reading_time_minutes": 7,
            "url": "https://musics.name/articles/diminished-and-half-diminished-sevenths/",
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            "excerpt": "A fully diminished seventh is four notes stacked in minor thirds: B, D, F and A♭ in C. A half-diminished seventh is a diminished triad with a minor seventh on top: B, D, F and A. Both contain the diminished triad B–D–F, and they differ by one semitone in the…",
            "score": 36,
            "partial": false,
            "snippet": "A fully diminished seventh is four notes stacked in minor thirds: B, D, F and A♭ in C. A half-diminished seventh is a diminished triad with a minor seventh on top: B, D, F and A. Both contain the diminished triad B–D–F,…"
        },
        {
            "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"
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            "date": "2026-10-11",
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            "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": 36,
            "partial": false,
            "snippet": "…us2 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……"
        },
        {
            "slug": "twelve-bar-blues-form",
            "title": "The Twelve-Bar Blues: Form, Chord Plan and Variations",
            "dek": "Twelve bars of 4/4 in three four-bar phrases, moving through I, IV and V. The standard plan in C and F, the quick change, the turnaround and the minor blues.",
            "topic": "form",
            "topic_name": "Form",
            "tags": [
                "twelve-bar blues",
                "form",
                "blues"
            ],
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            "date": "2026-10-11",
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            "json_url": "https://musics.name/api/article.json?slug=twelve-bar-blues-form",
            "excerpt": "A twelve-bar blues is a form of twelve bars in 4/4, grouped into three phrases of four bars each. The first two phrases usually carry the same words over different chords, and the third answers them. In the standard plan, the chords are I for four bars, IV…",
            "score": 36,
            "partial": false,
            "snippet": "A twelve-bar blues is a form of twelve bars in 4/4, grouped into three phrases of four bars each. The first two phrases usually carry the same words over different chords, and the third answers them…"
        },
        {
            "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"
            ],
            "level": "advanced",
            "date": "2026-10-04",
            "updated": null,
            "words": 1251,
            "reading_time_minutes": 6,
            "url": "https://musics.name/articles/neapolitan-sixth-chord/",
            "markdown_url": "https://musics.name/articles/neapolitan-sixth-chord.md",
            "json_url": "https://musics.name/api/article.json?slug=neapolitan-sixth-chord",
            "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…",
            "score": 36,
            "partial": false,
            "snippet": "…e 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……"
        },
        {
            "slug": "pentatonic-and-blues-scales",
            "title": "Pentatonic and Blues Scales: Patterns With a Purpose",
            "dek": "Major and minor pentatonics plus the blues scale: the patterns, the blue notes, and why five notes carry so much melody.",
            "topic": "fundamentals",
            "topic_name": "Fundamentals",
            "tags": [
                "pentatonic",
                "blues scale",
                "improvisation"
            ],
            "level": "intro",
            "date": "2026-10-04",
            "updated": null,
            "words": 1192,
            "reading_time_minutes": 6,
            "url": "https://musics.name/articles/pentatonic-and-blues-scales/",
            "markdown_url": "https://musics.name/articles/pentatonic-and-blues-scales.md",
            "json_url": "https://musics.name/api/article.json?slug=pentatonic-and-blues-scales",
            "excerpt": "Five notes should not be enough for a melody, yet some of the most sung tunes in the world use only five. The pentatonic scales explain why: remove the two most restless degrees from a seven-note scale and what remains is a collection where every note gets…",
            "score": 36,
            "partial": false,
            "snippet": "Five notes should not be enough for a melody, yet some of the most sung tunes in the world use only five. The pentatonic scales explain why: remove the two most restless degrees from a seven-note…"
        },
        {
            "slug": "harmonizing-a-melody",
            "title": "Harmonizing a Melody: How to Choose the Chords",
            "dek": "Harmonizing a melody means choosing a chord for each strong beat that contains the melody note. This worked example uses the opening of Ode to Joy in C.",
            "topic": "harmony",
            "topic_name": "Harmony",
            "tags": [
                "harmonization",
                "melody",
                "bass line"
            ],
            "level": "intermediate",
            "date": "2026-11-07",
            "updated": null,
            "words": 1393,
            "reading_time_minutes": 7,
            "url": "https://musics.name/articles/harmonizing-a-melody/",
            "markdown_url": "https://musics.name/articles/harmonizing-a-melody.md",
            "json_url": "https://musics.name/api/article.json?slug=harmonizing-a-melody",
            "excerpt": "To harmonize a melody, choose a chord for each strong beat that contains the melody note, or treat that note as a deliberate non-chord tone. Start with the key, mark the points where the tune comes to rest, and then write the bass, which should move against…",
            "score": 31,
            "partial": false,
            "snippet": "To harmonize a melody, choose a chord for each strong beat that contains the melody note, or treat that note as a deliberate non-chord tone. Start with the key, mark the points where the tune comes…"
        },
        {
            "slug": "chromatic-mediants",
            "title": "Chromatic Mediants Explained: Major Chords a Third Away",
            "dek": "A chromatic mediant is a triad a third from the tonic that lies outside the key. For C major the four are E♭, E, A♭ and A major, and each one shares a note with the C triad.",
            "topic": "harmony",
            "topic_name": "Harmony",
            "tags": [
                "chromatic mediant",
                "chromatic harmony",
                "common tone"
            ],
            "level": "advanced",
            "date": "2026-11-01",
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            "excerpt": "A chromatic mediant is a major or minor triad, of the same quality as the tonic, whose root lies a major or minor third from the tonic and which is not diatonic to the key. In C major there are four: major triads on E♭, E, A♭ and A. Each one shares exactly…",
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            "snippet": "A chromatic mediant is a major or minor triad, of the same quality as the tonic, whose root lies a major or minor third from the tonic and which is not diatonic to the key. In C major there are four: major triads on E♭,…"
        },
        {
            "slug": "interval-inversion-and-compound-intervals",
            "title": "Interval Inversion and Compound Intervals Explained",
            "dek": "Inverting an interval moves its lower note up an octave, and the two numbers add to nine. Compound intervals are wider than an octave and take a simpler name.",
            "topic": "fundamentals",
            "topic_name": "Fundamentals",
            "tags": [
                "intervals",
                "inversion",
                "compound interval"
            ],
            "level": "intermediate",
            "date": "2026-10-23",
            "updated": null,
            "words": 1351,
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            "url": "https://musics.name/articles/interval-inversion-and-compound-intervals/",
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            "json_url": "https://musics.name/api/article.json?slug=interval-inversion-and-compound-intervals",
            "excerpt": "To invert an interval, move its lower note up an octave, or its upper note down. The two numbers always add to nine: a third inverts to a sixth, and a fourth inverts to a fifth. Qualities flip, so major becomes minor and augmented becomes diminished, while…",
            "score": 31,
            "partial": false,
            "snippet": "…fourth inverts to a fifth. Qualities flip, so major becomes minor and augmented becomes diminished, while……"
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            "slug": "tonnetz-explained",
            "title": "The Tonnetz Explained: Euler's Lattice and Chord Moves",
            "dek": "The Tonnetz is a lattice of fifths and major thirds whose triangles are triads. Leonhard Euler described it in 1739, and this is how to read it.",
            "topic": "harmony",
            "topic_name": "Harmony",
            "tags": [
                "tonnetz",
                "neo-riemannian theory",
                "chord relationships"
            ],
            "level": "intermediate",
            "date": "2026-10-18",
            "updated": null,
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            "url": "https://musics.name/articles/tonnetz-explained/",
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            "json_url": "https://musics.name/api/article.json?slug=tonnetz-explained",
            "excerpt": "The Tonnetz, German for “tone net”, is a lattice of pitches in which every note links to its neighbours by perfect fifths and major thirds. Each closed triangle on the lattice is a triad, and two triads that share an edge share two notes. Leonhard Euler…",
            "score": 31,
            "partial": false,
            "snippet": "The Tonnetz, German for “tone net”, is a lattice of pitches in which every note links to its neighbours by perfect fifths and major thirds. Each closed triangle on the lattice is a triad, and two…"
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        {
            "slug": "enharmonic-equivalents-and-double-accidentals",
            "title": "Enharmonic Equivalents and Double Accidentals Explained",
            "dek": "Enharmonic notes share one pitch under two names, such as C♯ and D♭. Learn why the spelling matters, what double sharps and flats do, and where they appear.",
            "topic": "fundamentals",
            "topic_name": "Fundamentals",
            "tags": [
                "enharmonic",
                "accidentals",
                "notation"
            ],
            "level": "intermediate",
            "date": "2026-10-14",
            "updated": null,
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            "url": "https://musics.name/articles/enharmonic-equivalents-and-double-accidentals/",
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            "json_url": "https://musics.name/api/article.json?slug=enharmonic-equivalents-and-double-accidentals",
            "excerpt": "Enharmonic equivalents are two note names for one pitch, such as C♯ and D♭. A double sharp raises a note by two semitones and a double flat lowers it by two, so F double sharp sounds as G and B double flat sounds as A. The name a composer chooses depends on…",
            "score": 31,
            "partial": false,
            "snippet": "Enharmonic equivalents are two note names for one pitch, such as C♯ and D♭. A double sharp raises a note by two semitones and a double flat lowers it by two, so F double sharp sounds as G and B…"
        },
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            "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"
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            "level": "intro",
            "date": "2026-10-11",
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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": 31,
            "partial": false,
            "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…"
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            "slug": "caged-system-explained",
            "title": "CAGED System Explained: Five Shapes That Cover the Neck",
            "dek": "CAGED turns five open chords into movable shapes. This explains how the shapes connect, how to name a moved chord from its root string, and how to find one chord in several places.",
            "topic": "guitar",
            "topic_name": "Guitar & Fretboard",
            "tags": [
                "caged system",
                "chord shapes",
                "fretboard"
            ],
            "level": "intermediate",
            "date": "2026-10-11",
            "updated": null,
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            "url": "https://musics.name/articles/caged-system-explained/",
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            "json_url": "https://musics.name/api/article.json?slug=caged-system-explained",
            "excerpt": "The CAGED system treats the guitar neck as five movable chord shapes, named after the open chords C, A, G, E and D. Slide any one of them up the fretboard and the same finger pattern produces a different chord, so every major chord has a fingering in each of…",
            "score": 31,
            "partial": false,
            "snippet": "The CAGED system treats the guitar neck as five movable chord shapes, named after the open chords C, A, G, E and D. Slide any one of them up the fretboard and the same finger pattern produces a…"
        },
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            "slug": "common-chord-progressions",
            "title": "Common Chord Progressions: Loops, Numerals and Why They Work",
            "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",
            "topic_name": "Songwriting & Composition",
            "tags": [
                "chord progression",
                "songwriting",
                "roman numerals"
            ],
            "level": "intro",
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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…",
            "score": 31,
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            "snippet": "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…"
        },
        {
            "slug": "ear-training-intervals-method",
            "title": "Ear Training for Intervals: A Method You Can Practise Daily",
            "dek": "Interval recognition comes faster with a method: three intervals tied to a tonic, sung before they are named, and a short daily routine you can keep.",
            "topic": "practice",
            "topic_name": "Ear Training & Practice",
            "tags": [
                "ear training",
                "intervals",
                "solfège"
            ],
            "level": "intro",
            "date": "2026-10-11",
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            "json_url": "https://musics.name/api/article.json?slug=ear-training-intervals-method",
            "excerpt": "Learn intervals in small sets, anchored to a tonic, and sing each one before you name it. Start with three intervals that sound clearly different, and add a fourth only when the first three are reliable in random order. Practise for about ten minutes a day…",
            "score": 31,
            "partial": false,
            "snippet": "Learn intervals in small sets, anchored to a tonic, and sing each one before you name it. Start with three intervals that sound clearly different, and add a fourth only when the first three are…"
        },
        {
            "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"
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            "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": 31,
            "partial": false,
            "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…"
        }
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