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                    "description": "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…",
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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": 38
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                    "kind": "article",
                    "title": "Diatonic Chords in Major and Minor Keys Explained",
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                    "description": "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…",
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                    "title": "Gregorian Chant and Neumes: How Early Scribes Wrote Melody",
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                    "title": "Woodwind Doubling and Balance in Orchestral Writing",
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                    "description": "…w 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……",
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                    "description": "Timbre is the quality that lets you tell a clarinet from a trumpet playing the same pitch at the same loudness. It depends on the spectrum: which partials are present, how strong each one is, and how…",
                    "score": 19
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                    "kind": "article",
                    "title": "How to Write a Melody Over Chords, Note by Note",
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                    "description": "…ree 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……",
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                    "title": "Pythagorean Tuning: How Stacked Pure Fifths Build a Scale",
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                    "description": "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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                    "kind": "article",
                    "title": "Equal Temperament: What It Costs and What It Buys",
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                    "description": "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…",
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                    "title": "Voice Leading: Why the Rules Exist in Four-Part Writing",
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                    "description": "Part-writing rules usually arrive as a list of prohibitions, which makes them feel arbitrary and easy to resent. They are neither. Almost all of them follow from a single aim: four voices that behave…",
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                    "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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                },
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                    "kind": "article",
                    "title": "CAGED System Explained: Five Shapes That Cover the Neck",
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                    "description": "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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                    "title": "Capo and Transposition: How a Capo Changes the Key",
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                    "description": "…able nut. Placed at fret n, it raises every string by n semitones, so the shape you finger sounds n semitones higher than its name. A G-shape chord with the capo at fret 2 sounds in A. To find the sounding……",
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                    "kind": "article",
                    "title": "What Are Cents? The Unit That Measures Small Pitch Differences",
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                    "description": "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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                    "kind": "article",
                    "title": "Just Intonation, Beating and Why Intervals Sound in Tune",
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                    "description": "…a matter of taste and is mostly a physical event. When two tones sound together and their frequencies stand in a simple whole-number ratio, their overtones land on top of one another and the combined sound holds still.…",
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            "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"
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            "score": 44,
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            "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"
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            "level": "intermediate",
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            "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": 38,
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            "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…"
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            "slug": "diatonic-chords-in-major-and-minor",
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            "topic": "harmony",
            "topic_name": "Harmony",
            "tags": [
                "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…",
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            "snippet": "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…"
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            "slug": "gregorian-chant-and-neumes",
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            "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",
                "medieval notation"
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            "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": 28,
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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…"
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            "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": 28,
            "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": "woodwind-doubling-and-balance",
            "title": "Woodwind Doubling and Balance in Orchestral Writing",
            "dek": "Which woodwind doublings blend and which stick out: unisons, octaves, registers, dynamics, and practical balance.",
            "topic": "orchestration",
            "topic_name": "Orchestration",
            "tags": [
                "woodwinds",
                "doubling",
                "orchestration"
            ],
            "level": "intermediate",
            "date": "2026-10-04",
            "updated": null,
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            "excerpt": "Woodwinds are the orchestra’s color stops. They rarely carry the structure alone, but every skilled orchestration threads them through string and brass textures for brilliance, shadow, and blend. Knowing which doublings fuse and which grate is the core of the…",
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            "partial": false,
            "snippet": "Woodwinds are the orchestra’s color stops. They rarely carry the structure alone, but every skilled orchestration threads them through string and brass textures for brilliance, shadow, and blend…"
        },
        {
            "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",
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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": 24,
            "partial": true,
            "snippet": "…w 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……"
        },
        {
            "slug": "timbre-and-overtones",
            "title": "Timbre and Overtones: Why the Same Note Sounds Different",
            "dek": "Timbre is the shape of a note's spectrum: which partials are present, how strong they are and how the sound begins. Here is why a clarinet, a flute and a piano differ on the same pitch.",
            "topic": "acoustics",
            "topic_name": "Acoustics & Sound",
            "tags": [
                "timbre",
                "overtones",
                "spectrum"
            ],
            "level": "intro",
            "date": "2026-10-11",
            "updated": null,
            "words": 1367,
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            "json_url": "https://musics.name/api/article.json?slug=timbre-and-overtones",
            "excerpt": "Timbre is the quality that lets you tell a clarinet from a trumpet playing the same pitch at the same loudness. It depends on the spectrum: which partials are present, how strong each one is, and how those strengths change through the note’s attack, its…",
            "score": 19,
            "partial": true,
            "snippet": "Timbre is the quality that lets you tell a clarinet from a trumpet playing the same pitch at the same loudness. It depends on the spectrum: which partials are present, how strong each one is, and how…"
        },
        {
            "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": 17,
            "partial": true,
            "snippet": "…ree 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……"
        },
        {
            "slug": "string-bowing-and-articulation",
            "title": "String Bowing and Articulation: A Practical Arranger Guide",
            "dek": "Legato, detache, spiccato, staccato, martelé: what each bowing sounds like, how to mark it, and writing playable string parts.",
            "topic": "orchestration",
            "topic_name": "Orchestration",
            "tags": [
                "strings",
                "bowing",
                "articulation"
            ],
            "level": "intro",
            "date": "2026-10-04",
            "updated": null,
            "words": 1154,
            "reading_time_minutes": 6,
            "url": "https://musics.name/articles/string-bowing-and-articulation/",
            "markdown_url": "https://musics.name/articles/string-bowing-and-articulation.md",
            "json_url": "https://musics.name/api/article.json?slug=string-bowing-and-articulation",
            "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…",
            "score": 13,
            "partial": true,
            "snippet": "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…"
        },
        {
            "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": [
                "pythagorean tuning",
                "just fifths",
                "temperament"
            ],
            "level": "intermediate",
            "date": "2026-10-11",
            "updated": "2026-10-11",
            "words": 1484,
            "reading_time_minutes": 7,
            "url": "https://musics.name/articles/pythagorean-tuning/",
            "markdown_url": "https://musics.name/articles/pythagorean-tuning.md",
            "json_url": "https://musics.name/api/article.json?slug=pythagorean-tuning",
            "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…"
        },
        {
            "slug": "equal-temperament",
            "title": "Equal Temperament: What It Costs and What It Buys",
            "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",
            "topic_name": "Tuning & Temperament",
            "tags": [
                "tuning",
                "temperament",
                "intervals"
            ],
            "level": "intermediate",
            "date": "2026-09-25",
            "updated": "2026-10-11",
            "words": 1507,
            "reading_time_minutes": 8,
            "url": "https://musics.name/articles/equal-temperament/",
            "markdown_url": "https://musics.name/articles/equal-temperament.md",
            "json_url": "https://musics.name/api/article.json?slug=equal-temperament",
            "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…",
            "score": 10,
            "partial": true,
            "snippet": "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…"
        },
        {
            "slug": "voice-leading-in-four-parts",
            "title": "Voice Leading: Why the Rules Exist in Four-Part Writing",
            "dek": "Parallel fifths, tendency tones, spacing and doubling, read as solutions to one problem: keeping four lines heard as four lines.",
            "topic": "harmony",
            "topic_name": "Harmony",
            "tags": [
                "voice leading",
                "part writing",
                "counterpoint"
            ],
            "level": "intermediate",
            "date": "2026-09-25",
            "updated": null,
            "words": 1370,
            "reading_time_minutes": 7,
            "url": "https://musics.name/articles/voice-leading-in-four-parts/",
            "markdown_url": "https://musics.name/articles/voice-leading-in-four-parts.md",
            "json_url": "https://musics.name/api/article.json?slug=voice-leading-in-four-parts",
            "excerpt": "Part-writing rules usually arrive as a list of prohibitions, which makes them feel arbitrary and easy to resent. They are neither. Almost all of them follow from a single aim: four voices that behave like four voices. Once you can hear what a broken rule does…",
            "score": 9,
            "partial": true,
            "snippet": "Part-writing rules usually arrive as a list of prohibitions, which makes them feel arbitrary and easy to resent. They are neither. Almost all of them follow from a single aim: four voices that behave…"
        },
        {
            "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/",
            "markdown_url": "https://musics.name/articles/chord-extensions-ninths-elevenths-thirteenths.md",
            "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": 7,
            "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": "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,
            "words": 1439,
            "reading_time_minutes": 7,
            "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": 6,
            "partial": true,
            "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…"
        },
        {
            "slug": "capo-and-transposition",
            "title": "Capo and Transposition: How a Capo Changes the Key",
            "dek": "A capo raises every open string by one semitone per fret, so a G shape played at fret 2 sounds in A. This shows how to find the sounding key and how to choose a capo position.",
            "topic": "guitar",
            "topic_name": "Guitar & Fretboard",
            "tags": [
                "capo",
                "transposition",
                "guitar"
            ],
            "level": "intro",
            "date": "2026-10-11",
            "updated": null,
            "words": 1377,
            "reading_time_minutes": 7,
            "url": "https://musics.name/articles/capo-and-transposition/",
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            "json_url": "https://musics.name/api/article.json?slug=capo-and-transposition",
            "excerpt": "A capo is a clamp across the neck that acts as a movable nut. Placed at fret n, it raises every string by n semitones, so the shape you finger sounds n semitones higher than its name. A G-shape chord with the capo at fret 2 sounds in A. To find the sounding…",
            "score": 6,
            "partial": true,
            "snippet": "…able nut. Placed at fret n, it raises every string by n semitones, so the shape you finger sounds n semitones higher than its name. A G-shape chord with the capo at fret 2 sounds in A. To find the sounding……"
        },
        {
            "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,
            "reading_time_minutes": 7,
            "url": "https://musics.name/articles/major-scale-formula/",
            "markdown_url": "https://musics.name/articles/major-scale-formula.md",
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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": 6,
            "partial": true,
            "snippet": "…e, 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……"
        },
        {
            "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/",
            "markdown_url": "https://musics.name/articles/relative-and-parallel-keys.md",
            "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": 6,
            "partial": true,
            "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": "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": [
                "cents",
                "tuning",
                "pitch measurement"
            ],
            "level": "intro",
            "date": "2026-10-11",
            "updated": "2026-10-11",
            "words": 1373,
            "reading_time_minutes": 7,
            "url": "https://musics.name/articles/what-are-cents/",
            "markdown_url": "https://musics.name/articles/what-are-cents.md",
            "json_url": "https://musics.name/api/article.json?slug=what-are-cents",
            "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": 6,
            "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…"
        },
        {
            "slug": "just-intonation",
            "title": "Just Intonation, Beating and Why Intervals Sound in Tune",
            "dek": "Pure intervals come from small whole-number ratios, and beating is what stops them sounding pure. What just intonation gives, and what it cannot fix.",
            "topic": "tuning",
            "topic_name": "Tuning & Temperament",
            "tags": [
                "just intonation",
                "intervals",
                "acoustics"
            ],
            "level": "advanced",
            "date": "2026-09-25",
            "updated": "2026-10-11",
            "words": 1669,
            "reading_time_minutes": 8,
            "url": "https://musics.name/articles/just-intonation/",
            "markdown_url": "https://musics.name/articles/just-intonation.md",
            "json_url": "https://musics.name/api/article.json?slug=just-intonation",
            "excerpt": "“In tune” sounds like a matter of taste and is mostly a physical event. When two tones sound together and their frequencies stand in a simple whole-number ratio, their overtones land on top of one another and the combined sound holds still. When the ratio is…",
            "score": 6,
            "partial": true,
            "snippet": "…a matter of taste and is mostly a physical event. When two tones sound together and their frequencies stand in a simple whole-number ratio, their overtones land on top of one another and the combined sound holds still.…"
        }
    ],
    "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=Guide%20tones",
    "generated_at": "2026-10-14T01:03:07+00:00"
}