{
    "query": "Interval",
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    "total": 41,
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                {
                    "kind": "term",
                    "title": "Interval",
                    "url": "https://musics.name/glossary/interval/",
                    "description": "The distance between two pitches, measured by the number of letter names it spans and by the number of…",
                    "score": 56
                },
                {
                    "kind": "term",
                    "title": "Interval inversion",
                    "url": "https://musics.name/glossary/interval-inversion/",
                    "description": "Reversing an interval by moving its lower note up an octave, which turns a third into a sixth and a fifth…",
                    "score": 30
                },
                {
                    "kind": "term",
                    "title": "Augmented interval",
                    "url": "https://musics.name/glossary/augmented-interval/",
                    "description": "An interval one semitone wider than a major or perfect interval with the same letter names, such as F to B.",
                    "score": 16
                },
                {
                    "kind": "term",
                    "title": "Compound interval",
                    "url": "https://musics.name/glossary/compound-interval/",
                    "description": "An interval larger than an octave, such as a tenth or twelfth, made of a simple interval plus one or more…",
                    "score": 16
                },
                {
                    "kind": "term",
                    "title": "Diminished interval",
                    "url": "https://musics.name/glossary/diminished-interval/",
                    "description": "An interval one semitone narrower than a perfect or minor interval with the same letter names, such as B to F.",
                    "score": 16
                },
                {
                    "kind": "term",
                    "title": "Major interval",
                    "url": "https://musics.name/glossary/major-interval/",
                    "description": "A second, third, sixth or seventh that spans the number of semitones found in the major scale on its lower…",
                    "score": 16
                },
                {
                    "kind": "term",
                    "title": "Minor interval",
                    "url": "https://musics.name/glossary/minor-interval/",
                    "description": "A second, third, sixth or seventh one semitone smaller than the major interval with the same letter names.",
                    "score": 16
                },
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                    "kind": "term",
                    "title": "Perfect interval",
                    "url": "https://musics.name/glossary/perfect-interval/",
                    "description": "A unison, fourth, fifth or octave, which has one standard size and becomes augmented or diminished when…",
                    "score": 16
                },
                {
                    "kind": "term",
                    "title": "Consonance",
                    "url": "https://musics.name/glossary/consonance/",
                    "description": "An interval or chord that sounds stable and at rest in a given style, such as the octave, fifth and major…",
                    "score": 5
                },
                {
                    "kind": "term",
                    "title": "Dissonance",
                    "url": "https://musics.name/glossary/dissonance/",
                    "description": "An interval or chord heard as unstable or tense, which in tonal music usually moves on to a consonance.",
                    "score": 5
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                    "kind": "article",
                    "title": "Ear Training for Intervals: A Method You Can Practise Daily",
                    "url": "https://musics.name/articles/ear-training-intervals-method/",
                    "description": "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.…",
                    "score": 54
                },
                {
                    "kind": "article",
                    "title": "Just Intonation, Beating and Why Intervals Sound in Tune",
                    "url": "https://musics.name/articles/just-intonation/",
                    "description": "“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…",
                    "score": 54
                },
                {
                    "kind": "article",
                    "title": "Reading Intervals at Sight: Generic and Specific",
                    "url": "https://musics.name/articles/reading-intervals-at-sight/",
                    "description": "An interval is described by two properties at once, and readers who collapse them into one get stuck. The first is the generic interval: how many staff positions the notes span, counted inclusively from the lower note. C…",
                    "score": 54
                },
                {
                    "kind": "article",
                    "title": "Figured Bass: Reading Intervals Above the Bass Line",
                    "url": "https://musics.name/articles/figured-bass/",
                    "description": "…, and the numerals are not chord symbols. Each one names an interval above the note it sits under, counted from that note. The player supplies the rest. Understanding what is written and what is……",
                    "score": 48
                },
                {
                    "kind": "article",
                    "title": "Equal Temperament: What It Costs and What It Buys",
                    "url": "https://musics.name/articles/equal-temperament/",
                    "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…",
                    "score": 42
                },
                {
                    "kind": "article",
                    "title": "Parallel Fifths and Octaves: Why the Rule Exists",
                    "url": "https://musics.name/articles/parallel-fifths-and-octaves/",
                    "description": "…the next. Strict voice leading forbids them because perfect intervals fuse: the two lines blur into one sound and lose……",
                    "score": 36
                },
                {
                    "kind": "article",
                    "title": "Pythagorean Tuning: How Stacked Pure Fifths Build a Scale",
                    "url": "https://musics.name/articles/pythagorean-tuning/",
                    "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 only from the number…",
                    "score": 36
                },
                {
                    "kind": "article",
                    "title": "Transposing Instruments Explained: Written and Sounding Pitch",
                    "url": "https://musics.name/articles/transposing-instruments-explained/",
                    "description": "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…",
                    "score": 36
                },
                {
                    "kind": "article",
                    "title": "What Are Cents? The Unit That Measures Small Pitch Differences",
                    "url": "https://musics.name/articles/what-are-cents/",
                    "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…",
                    "score": 36
                },
                {
                    "kind": "article",
                    "title": "Canon Types and Techniques: Rounds to Crab Canons",
                    "url": "https://musics.name/articles/canon-types-and-techniques/",
                    "description": "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…",
                    "score": 36
                },
                {
                    "kind": "article",
                    "title": "The Major Scale Formula: Whole and Half Steps Explained",
                    "url": "https://musics.name/articles/major-scale-formula/",
                    "description": "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…",
                    "score": 33
                },
                {
                    "kind": "article",
                    "title": "The Harmonic Series: Why Octaves, Fifths and Thirds Come First",
                    "url": "https://musics.name/articles/the-harmonic-series/",
                    "description": "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…",
                    "score": 31
                },
                {
                    "kind": "article",
                    "title": "Types of Motion in Voice Leading: Parallel, Contrary, Oblique",
                    "url": "https://musics.name/articles/types-of-motion-in-voice-leading/",
                    "description": "…In parallel motion both move in the same direction and the interval between them stays the same. In similar motion both move in the same direction but the interval changes. In oblique motion one voice……",
                    "score": 31
                },
                {
                    "kind": "article",
                    "title": "First Species Counterpoint, Rule by Rule",
                    "url": "https://musics.name/articles/first-species-counterpoint/",
                    "description": "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…",
                    "score": 31
                },
                {
                    "kind": "article",
                    "title": "Fugue Subjects and Answers",
                    "url": "https://musics.name/articles/fugue-subject-and-answer/",
                    "description": "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…",
                    "score": 31
                },
                {
                    "kind": "article",
                    "title": "Imitation and Invertible Counterpoint",
                    "url": "https://musics.name/articles/imitation-and-invertible-counterpoint/",
                    "description": "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…",
                    "score": 31
                },
                {
                    "kind": "article",
                    "title": "Meantone and Well Temperament: Why Keys Used to Sound Different",
                    "url": "https://musics.name/articles/meantone-and-well-temperament/",
                    "description": "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…",
                    "score": 31
                },
                {
                    "kind": "article",
                    "title": "After Tonality: What Composers Replaced It With",
                    "url": "https://musics.name/articles/music-after-tonality/",
                    "description": "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…",
                    "score": 31
                },
                {
                    "kind": "article",
                    "title": "Scale Degrees Explained: Numbers, Names and Solfège",
                    "url": "https://musics.name/articles/scale-degrees-and-solfege/",
                    "description": "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…",
                    "score": 30
                },
                {
                    "kind": "article",
                    "title": "Pentatonic and Blues Scales: Patterns With a Purpose",
                    "url": "https://musics.name/articles/pentatonic-and-blues-scales/",
                    "description": "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…",
                    "score": 30
                }
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        },
        {
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            "label": "Pages",
            "items": [
                {
                    "kind": "page",
                    "title": "Intervals",
                    "url": "https://musics.name/intervals/",
                    "description": "From the minor second to the octave.",
                    "score": 25
                }
            ]
        },
        {
            "kind": "interval",
            "label": "Intervals",
            "items": [
                {
                    "kind": "interval",
                    "title": "Major second",
                    "url": "https://musics.name/intervals/major-second/",
                    "description": "The major second is a whole tone of two semitones, with a just ratio of 9:8, and it is the step between most neighbouring degrees of the major scale.",
                    "score": 5
                },
                {
                    "kind": "interval",
                    "title": "Major seventh",
                    "url": "https://musics.name/intervals/major-seventh/",
                    "description": "The major seventh spans eleven semitones with a just ratio of 15:8, a sharp dissonance that the ear hears as a leading tone pulling toward the octave.",
                    "score": 5
                },
                {
                    "kind": "interval",
                    "title": "Major sixth",
                    "url": "https://musics.name/intervals/major-sixth/",
                    "description": "The major sixth spans nine semitones with a just ratio of 5:3, an open imperfect consonance that sounds bright and lifted.",
                    "score": 5
                },
                {
                    "kind": "interval",
                    "title": "Major third",
                    "url": "https://musics.name/intervals/major-third/",
                    "description": "The major third spans four semitones with a just ratio of 5:4, the bright imperfect consonance that gives major chords their sound.",
                    "score": 5
                },
                {
                    "kind": "interval",
                    "title": "Minor second",
                    "url": "https://musics.name/intervals/minor-second/",
                    "description": "The minor second spans one semitone with a just ratio of 16:15, the narrowest step used in Western tonal music.",
                    "score": 5
                },
                {
                    "kind": "interval",
                    "title": "Minor seventh",
                    "url": "https://musics.name/intervals/minor-seventh/",
                    "description": "The minor seventh spans ten semitones with a just ratio of 9:5, a dissonance that sounds unresolved at the top of the dominant seventh chord.",
                    "score": 5
                },
                {
                    "kind": "interval",
                    "title": "Minor sixth",
                    "url": "https://musics.name/intervals/minor-sixth/",
                    "description": "The minor sixth spans eight semitones with a just ratio of 8:5, a dark imperfect consonance that inverts to the major third.",
                    "score": 5
                },
                {
                    "kind": "interval",
                    "title": "Minor third",
                    "url": "https://musics.name/intervals/minor-third/",
                    "description": "The minor third spans three semitones with a just ratio of 6:5, the darker of the two thirds and the interval that gives minor triads their colour.",
                    "score": 5
                },
                {
                    "kind": "interval",
                    "title": "Perfect fifth",
                    "url": "https://musics.name/intervals/perfect-fifth/",
                    "description": "The perfect fifth spans seven semitones with a just ratio of 3:2, an open, stable interval at the core of major and minor triads.",
                    "score": 5
                },
                {
                    "kind": "interval",
                    "title": "Perfect fourth",
                    "url": "https://musics.name/intervals/perfect-fourth/",
                    "description": "The perfect fourth spans five semitones with a just ratio of 4:3, an open interval whose stability depends on which note sits in the bass.",
                    "score": 5
                }
            ]
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            "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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            "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…",
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            "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 reliable in random order.…"
        },
        {
            "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",
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            "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": 54,
            "partial": false,
            "snippet": "“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…"
        },
        {
            "slug": "reading-intervals-at-sight",
            "title": "Reading Intervals at Sight: Generic and Specific",
            "dek": "Naming an interval at sight takes two passes: count the staff positions first, then judge what the accidental does to the size.",
            "topic": "fundamentals",
            "topic_name": "Fundamentals",
            "tags": [
                "intervals",
                "sight reading",
                "notation"
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            "level": "intro",
            "date": "2026-09-25",
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            "url": "https://musics.name/articles/reading-intervals-at-sight/",
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            "json_url": "https://musics.name/api/article.json?slug=reading-intervals-at-sight",
            "excerpt": "An interval is described by two properties at once, and readers who collapse them into one get stuck. The first is the generic interval: how many staff positions the notes span, counted inclusively from the lower note. C to E is a third because three letter…",
            "score": 54,
            "partial": false,
            "snippet": "An interval is described by two properties at once, and readers who collapse them into one get stuck. The first is the generic interval: how many staff positions the notes span, counted inclusively from the lower note. C…"
        },
        {
            "slug": "figured-bass",
            "title": "Figured Bass: Reading Intervals Above the Bass Line",
            "dek": "Figures name intervals above the bass, not chords. What each shorthand means, how accidentals override the key, and what the player decides.",
            "topic": "harmony",
            "topic_name": "Harmony",
            "tags": [
                "figured bass",
                "basso continuo",
                "inversion"
            ],
            "level": "intermediate",
            "date": "2026-09-25",
            "updated": null,
            "words": 1306,
            "reading_time_minutes": 7,
            "url": "https://musics.name/articles/figured-bass/",
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            "excerpt": "A figured bass is a bass line with numerals underneath it, and the numerals are not chord symbols. Each one names an interval above the note it sits under, counted from that note. The player supplies the rest. Understanding what is written and what is…",
            "score": 48,
            "partial": false,
            "snippet": "…, and the numerals are not chord symbols. Each one names an interval above the note it sits under, counted from that note. The player supplies the rest. Understanding what is written and what is……"
        },
        {
            "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/",
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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…",
            "score": 42,
            "partial": false,
            "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": "parallel-fifths-and-octaves",
            "title": "Parallel Fifths and Octaves: Why the Rule Exists",
            "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",
            "topic_name": "Counterpoint",
            "tags": [
                "parallel fifths",
                "voice leading",
                "counterpoint"
            ],
            "level": "intermediate",
            "date": "2026-10-11",
            "updated": null,
            "words": 1371,
            "reading_time_minutes": 7,
            "url": "https://musics.name/articles/parallel-fifths-and-octaves/",
            "markdown_url": "https://musics.name/articles/parallel-fifths-and-octaves.md",
            "json_url": "https://musics.name/api/article.json?slug=parallel-fifths-and-octaves",
            "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": 36,
            "partial": false,
            "snippet": "…the next. Strict voice leading forbids them because perfect intervals fuse: the two lines blur into one sound and lose……"
        },
        {
            "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": 36,
            "partial": false,
            "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"
            ],
            "level": "intermediate",
            "date": "2026-10-11",
            "updated": null,
            "words": 1378,
            "reading_time_minutes": 7,
            "url": "https://musics.name/articles/transposing-instruments-explained/",
            "markdown_url": "https://musics.name/articles/transposing-instruments-explained.md",
            "json_url": "https://musics.name/api/article.json?slug=transposing-instruments-explained",
            "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": 36,
            "partial": false,
            "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…"
        },
        {
            "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",
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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…",
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            "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"
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            "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": 36,
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            "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…"
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            "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"
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            "date": "2026-10-11",
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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": 33,
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            "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…"
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            "title": "The Harmonic Series: Why Octaves, Fifths and Thirds Come First",
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            "topic": "acoustics",
            "topic_name": "Acoustics & Sound",
            "tags": [
                "harmonic series",
                "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…",
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            "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": "types-of-motion-in-voice-leading",
            "title": "Types of Motion in Voice Leading: Parallel, Contrary, Oblique",
            "dek": "Parallel, similar, oblique and contrary motion defined between two voices, what each does to their independence, and which one counterpoint prefers.",
            "topic": "counterpoint",
            "topic_name": "Counterpoint",
            "tags": [
                "voice leading",
                "counterpoint",
                "two voices"
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            "date": "2026-10-11",
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            "excerpt": "Two voices can move in four ways relative to each other. In parallel motion both move in the same direction and the interval between them stays the same. In similar motion both move in the same direction but the interval changes. In oblique motion one voice…",
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            "snippet": "…In parallel motion both move in the same direction and the interval between them stays the same. In similar motion both move in the same direction but the interval changes. In oblique motion one voice……"
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            "slug": "first-species-counterpoint",
            "title": "First Species Counterpoint, Rule by Rule",
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            "topic": "counterpoint",
            "topic_name": "Counterpoint",
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                "species counterpoint",
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                "two voices"
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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…",
            "score": 31,
            "partial": false,
            "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…"
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            "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"
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            "date": "2026-09-25",
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            "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…",
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            "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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            "title": "Imitation and Invertible Counterpoint",
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            "topic": "counterpoint",
            "topic_name": "Counterpoint",
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                "imitation",
                "canon",
                "invertible counterpoint"
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            "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": 31,
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            "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…"
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            "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"
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            "level": "advanced",
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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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            "topic": "history",
            "topic_name": "Music History",
            "tags": [
                "atonality",
                "serialism",
                "modernism"
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            "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…",
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            "slug": "scale-degrees-and-solfege",
            "title": "Scale Degrees Explained: Numbers, Names and Solfège",
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            "topic": "fundamentals",
            "topic_name": "Fundamentals",
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                "scale degree",
                "solfege",
                "tonic",
                "ear training"
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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…",
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            "title": "Pentatonic and Blues Scales: Patterns With a Purpose",
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            "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…",
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            "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…"
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