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                "borrowed chords",
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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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            "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…",
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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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                "tonic",
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            "excerpt": "A scale degree is a note’s position counted up from the tonic. The tonic is degree 1, the note the key is named for, and the fifth note of the major scale is degree 5, the dominant, whatever key you are in. Solfège attaches syllables to those positions…",
            "score": 30,
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            "snippet": "A scale degree is a note’s position counted up from the tonic. The tonic is degree 1, the note the key is named for, and the fifth note of the major scale is degree 5, the dominant, whatever key you…"
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            "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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                "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…",
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            "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…"
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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",
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                "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…",
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            "title": "First Species Counterpoint, Rule by Rule",
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            "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…",
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            "title": "Romantic Chromaticism and the Expanding Tonic",
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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…",
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            "snippet": "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…"
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            "excerpt": "Baroque scores look plain because the decoration lives in symbols and conventions, not in the notes. Trills, mordents, turns, and appoggiaturas transform skeletal lines into singing ones, but only when executed the way the style expects: on the beat, with the…",
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            "snippet": "Baroque scores look plain because the decoration lives in symbols and conventions, not in the notes. Trills, mordents, turns, and appoggiaturas transform skeletal lines into singing ones, but only…"
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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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            "title": "Tritone Substitution: The subV7 Chord That Still Resolves",
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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…",
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            "title": "Seventh Chords and How They Resolve in Tonal Harmony",
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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…",
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            "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…"
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