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                    "kind": "article",
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            "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.",
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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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            "topic": "tuning",
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            "score": 40,
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            "snippet": "…thagorean 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…"
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            "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…"
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            "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.",
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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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            "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": 37,
            "partial": false,
            "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…"
        },
        {
            "slug": "first-species-counterpoint",
            "title": "First Species Counterpoint, Rule by Rule",
            "dek": "Species counterpoint isolates one compositional decision at a time. First species isolates the hardest one: how to make two voices sound like two voices.",
            "topic": "counterpoint",
            "topic_name": "Counterpoint",
            "tags": [
                "species counterpoint",
                "voice leading",
                "two voices"
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            "date": "2026-09-25",
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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": 37,
            "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…"
        },
        {
            "slug": "imitation-and-invertible-counterpoint",
            "title": "Imitation and Invertible Counterpoint",
            "dek": "Imitation makes one idea serve two lines. Invertible counterpoint makes those lines interchangeable, and the arithmetic behind it is small enough to check.",
            "topic": "counterpoint",
            "topic_name": "Counterpoint",
            "tags": [
                "imitation",
                "canon",
                "invertible counterpoint"
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            "date": "2026-09-25",
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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": 36,
            "partial": false,
            "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": "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",
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                "key signature"
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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…",
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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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        {
            "slug": "clefs-and-transposition",
            "title": "Clefs and Transposition: What Players Actually Read",
            "dek": "A clef fixes one pitch and the staff follows. Transposing instruments move it again, so the same written note reaches the audience at different pitches.",
            "topic": "fundamentals",
            "topic_name": "Fundamentals",
            "tags": [
                "clefs",
                "transposition",
                "score reading"
            ],
            "level": "intermediate",
            "date": "2026-09-25",
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            "url": "https://musics.name/articles/clefs-and-transposition/",
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            "json_url": "https://musics.name/api/article.json?slug=clefs-and-transposition",
            "excerpt": "A staff is a grid without absolute meaning. A clef gives one line or space a fixed pitch, and every other position follows from it by step. That single decision determines what a player reads, and two further conventions determine what the audience hears…",
            "score": 33,
            "partial": false,
            "snippet": "A staff is a grid without absolute meaning. A clef gives one line or space a fixed pitch, and every other position follows from it by step. That single decision determines what a player reads, and…"
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            "slug": "suspended-chords-sus2-sus4",
            "title": "Suspended Chords: Sus2 and Sus4 Explained",
            "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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            "level": "intro",
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            "json_url": "https://musics.name/api/article.json?slug=suspended-chords-sus2-sus4",
            "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": 32,
            "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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        {
            "slug": "the-harmonic-series",
            "title": "The Harmonic Series: Why Octaves, Fifths and Thirds Come First",
            "dek": "A vibrating string or air column sounds a fundamental and a set of partials at whole-number multiples of it. Here are the first sixteen, their cents, and where they differ from equal temperament.",
            "topic": "acoustics",
            "topic_name": "Acoustics & Sound",
            "tags": [
                "harmonic series",
                "partials",
                "acoustics"
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            "level": "intro",
            "date": "2026-10-11",
            "updated": "2026-10-11",
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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…",
            "score": 32,
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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": "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",
                "mensural notation",
                "renaissance"
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            "date": "2026-09-25",
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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…",
            "score": 32,
            "partial": false,
            "snippet": "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…"
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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…",
            "score": 32,
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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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            "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"
            ],
            "level": "advanced",
            "date": "2026-09-25",
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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…",
            "score": 32,
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            "snippet": "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…"
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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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            "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": 32,
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            "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…"
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            "slug": "pentatonic-and-blues-scales",
            "title": "Pentatonic and Blues Scales: Patterns With a Purpose",
            "dek": "Major and minor pentatonics plus the blues scale: the patterns, the blue notes, and why five notes carry so much melody.",
            "topic": "fundamentals",
            "topic_name": "Fundamentals",
            "tags": [
                "pentatonic",
                "blues scale",
                "improvisation"
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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…",
            "score": 31,
            "partial": false,
            "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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