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            "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",
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                "counterpoint"
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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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            "topic": "harmony",
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                "chord progression",
                "jazz harmony"
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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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            "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",
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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…",
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            "dek": "Enharmonic notes share one pitch under two names, such as C♯ and D♭. Learn why the spelling matters, what double sharps and flats do, and where they appear.",
            "topic": "fundamentals",
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            "score": 37,
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            "snippet": "…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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            "slug": "functional-harmony",
            "title": "Functional Harmony: Tonic, Predominant, Dominant",
            "dek": "Tonic, predominant and dominant describe what a chord does to a phrase rather than what it is. This is how the three harmonic jobs divide the work.",
            "topic": "harmony",
            "topic_name": "Harmony",
            "tags": [
                "chord function",
                "tonality",
                "harmonic analysis"
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            "excerpt": "A chord chart tells you which chords a piece uses. It does not tell you why the piece moves. The labels tonic, predominant and dominant answer the second question: they describe what a chord does to the phrase it sits in, not what notes it happens to contain…",
            "score": 37,
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            "snippet": "A chord chart tells you which chords a piece uses. It does not tell you why the piece moves. The labels tonic, predominant and dominant answer the second question: they describe what a chord does to…"
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            "slug": "rise-of-functional-tonality",
            "title": "The Rise of Functional Tonality: From Modes to Keys",
            "dek": "Around 1600 the bass became the foundation of harmony and the modal system narrowed to two keys. What changed in the documents, and what the change cost.",
            "topic": "history",
            "topic_name": "Music History",
            "tags": [
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                "basso continuo",
                "modes"
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            "excerpt": "A motet by Palestrina and a trio sonata by Corelli are separated by about a century, and the difference between them is not a matter of ornament. In the motet, harmony is what happens while four or five independent lines are doing something else. In the…",
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            "title": "Secondary Dominants and How Tonicization Works",
            "dek": "A secondary dominant makes any chord a temporary tonic. How to spell one, where it turns up, and what cancels the effect.",
            "topic": "harmony",
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            "excerpt": "In C major, a D major triad contains an F sharp. The key signature does not supply it and the chord is not an error. For as long as it sounds, the music treats G as a temporary tonic, and the D major triad is the dominant of that temporary tonic. Analysis…",
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            "snippet": "In C major, a D major triad contains an F sharp. The key signature does not supply it and the chord is not an error. For as long as it sounds, the music treats G as a temporary tonic, and the D major…"
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            "dek": "Scale degrees number each note of a scale from its tonic, and solfège names the same positions do, re, mi. Degree names, movable and fixed do, and why degrees travel between keys.",
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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": "The Neapolitan Sixth Chord: Sound, Spelling, Resolution",
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            "excerpt": "Few chords announce themselves as clearly as the Neapolitan sixth. One lowered note in the bass, a major triad glowing against a minor key, and the phrase turns toward a cadence of unusual gravity. It is the most audible chromatic predominant in the tonal…",
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            "excerpt": "A piece that ends in G major and began in C major has modulated. The change of key is not a single event on one beat but a process spread over several, and the process has a rule: a key exists when its tonic has been confirmed by a cadence. Everything else…",
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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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