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            "dek": "Roman numerals label each chord by the scale degree of its root and its quality. Here is a step-by-step method, with I vi IV V worked in C and G.",
            "topic": "harmony",
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            "excerpt": "Roman numeral analysis labels each chord by the scale degree of its root, and the case of the numeral shows whether the chord is major or minor. In C major, the progression C, Am, F, G is I, vi, IV, V. The numerals describe how each chord relates to the key…",
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            "topic": "harmony",
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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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            "slug": "suspended-chords-sus2-sus4",
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            "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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            "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": 30,
            "partial": false,
            "snippet": "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…"
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            "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",
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                "ninth chords"
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            "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": 28,
            "partial": false,
            "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…"
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            "title": "Reading Guitar Tabs and Chord Diagrams for Beginners",
            "dek": "Tab shows strings and frets rather than pitch names, and a chord diagram is a small grid of the same information. This explains both, with an arpeggio you can check against the fretboard.",
            "topic": "guitar",
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                "chord diagrams",
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            "excerpt": "Guitar tablature is a set of six horizontal lines, one for each string, with a fret number written on the line where a note is played. The top line is the high E string and the bottom line is the low E string. A chord diagram is a small vertical grid in which…",
            "score": 28,
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            "snippet": "Guitar tablature is a set of six horizontal lines, one for each string, with a fret number written on the line where a note is played. The top line is the high E string and the bottom line is the low…"
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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",
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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": 28,
            "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…"
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        {
            "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"
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            "level": "intermediate",
            "date": "2026-09-25",
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            "reading_time_minutes": 7,
            "url": "https://musics.name/articles/voice-leading-in-four-parts/",
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            "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": 24,
            "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": "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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            "level": "intro",
            "date": "2026-10-11",
            "updated": null,
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            "url": "https://musics.name/articles/types-of-motion-in-voice-leading/",
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            "json_url": "https://musics.name/api/article.json?slug=types-of-motion-in-voice-leading",
            "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…",
            "score": 21,
            "partial": true,
            "snippet": "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…"
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        {
            "slug": "how-to-read-sheet-music",
            "title": "How to Read Sheet Music: Staves, Clefs and Note Names",
            "dek": "The staff, the treble and bass clefs, line and space names, ledger lines, and where the key and time signatures sit, with a table to learn from.",
            "topic": "fundamentals",
            "topic_name": "Fundamentals",
            "tags": [
                "sheet music",
                "staff",
                "clef",
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            "date": "2026-10-11",
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            "excerpt": "Sheet music is a grid of pitch against time. Pitch rises up the page from low to high, time runs from left to right, and the notes sit on a staff of five horizontal lines with four spaces between them. To name a note, find the clef at the start of the staff…",
            "score": 19,
            "partial": true,
            "snippet": "Sheet music is a grid of pitch against time. Pitch rises up the page from low to high, time runs from left to right, and the notes sit on a staff of five horizontal lines with four spaces between them. To name a note, fi…"
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            "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"
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            "level": "intermediate",
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            "excerpt": "Parallel fifths and octaves occur when two voices move in the same direction and stay a perfect fifth or octave apart from one chord to the next. Strict voice leading forbids them because perfect intervals fuse: the two lines blur into one sound and lose…",
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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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            "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.",
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            "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…",
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            "snippet": "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…"
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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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            "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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            "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…",
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                "scale degree",
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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…",
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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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            "title": "Augmented Sixth Chords: Italian, French and German Types",
            "dek": "Italian, French and German sixth chords: how each type is built, how they resolve to V, and their use in enharmonic modulation.",
            "topic": "harmony",
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                "augmented sixth",
                "chromatic harmony",
                "modulation"
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            "excerpt": "Some chords exist for a single gesture: two voices stretching outward to an octave. The augmented sixth family turns that gesture into three distinct sonorities, each with its own color, its own resolution habits, and its own role in reaching the dominant…",
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            "slug": "canon-types-and-techniques",
            "title": "Canon Types and Techniques: Rounds to Crab Canons",
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                "counterpoint"
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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…",
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