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            "excerpt": "A note value says how long a note sounds in relation to the beat. Each value is half the length of the one above it: whole, half, quarter, eighth, sixteenth. Every value has a rest of the same length. A dot adds half the value, and a tie joins two notes of…",
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            "json_url": "https://musics.name/api/article.json?slug=the-harmonic-series",
            "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…"
        },
        {
            "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"
            ],
            "level": "advanced",
            "date": "2026-09-25",
            "updated": null,
            "words": 1728,
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            "url": "https://musics.name/articles/imitation-and-invertible-counterpoint/",
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            "json_url": "https://musics.name/api/article.json?slug=imitation-and-invertible-counterpoint",
            "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": 3,
            "partial": true,
            "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…"
        },
        {
            "slug": "tempo-markings-largo-to-presto",
            "title": "Tempo Markings Explained: Largo to Presto in Beats per Minute",
            "dek": "Italian tempo words run from slow to fast. Approximate beats-per-minute bands for each, the modifiers and transitions that change them, and why a metronome number needs a time signature.",
            "topic": "fundamentals",
            "topic_name": "Fundamentals",
            "tags": [
                "tempo",
                "metronome",
                "italian terms",
                "time signature"
            ],
            "level": "intro",
            "date": "2026-10-11",
            "updated": null,
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            "url": "https://musics.name/articles/tempo-markings-largo-to-presto/",
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            "json_url": "https://musics.name/api/article.json?slug=tempo-markings-largo-to-presto",
            "excerpt": "Common tempo markings run from grave, the slowest, to presto, the fastest, and each term names a band of beats per minute rather than an exact speed. Grave covers roughly 25 to 45 beats per minute and presto roughly 168 to 200. Composers modify those bands…",
            "score": 2,
            "partial": true,
            "snippet": "Common tempo markings run from grave, the slowest, to presto, the fastest, and each term names a band of beats per minute rather than an exact speed. Grave covers roughly 25 to 45 beats per minute…"
        },
        {
            "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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            "url": "https://musics.name/articles/canon-types-and-techniques/",
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            "json_url": "https://musics.name/api/article.json?slug=canon-types-and-techniques",
            "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": 2,
            "partial": true,
            "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": "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",
            "updated": "2026-10-11",
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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": 2,
            "partial": true,
            "snippet": "…n 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……"
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            "slug": "capo-and-transposition",
            "title": "Capo and Transposition: How a Capo Changes the Key",
            "dek": "A capo raises every open string by one semitone per fret, so a G shape played at fret 2 sounds in A. This shows how to find the sounding key and how to choose a capo position.",
            "topic": "guitar",
            "topic_name": "Guitar & Fretboard",
            "tags": [
                "capo",
                "transposition",
                "guitar"
            ],
            "level": "intro",
            "date": "2026-10-11",
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            "excerpt": "A capo is a clamp across the neck that acts as a movable nut. Placed at fret n, it raises every string by n semitones, so the shape you finger sounds n semitones higher than its name. A G-shape chord with the capo at fret 2 sounds in A. To find the sounding…",
            "score": 1,
            "partial": true,
            "snippet": "A capo is a clamp across the neck that acts as a movable nut. Placed at fret n, it raises every string by n semitones, so the shape you finger sounds n semitones higher than its name. A G-shape chord…"
        },
        {
            "slug": "chord-extensions-ninths-elevenths-thirteenths",
            "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",
                "jazz harmony",
                "ninth chords"
            ],
            "level": "intermediate",
            "date": "2026-10-11",
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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": 1,
            "partial": true,
            "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…"
        },
        {
            "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",
                "notation"
            ],
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            "date": "2026-10-11",
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            "url": "https://musics.name/articles/how-to-read-sheet-music/",
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            "json_url": "https://musics.name/api/article.json?slug=how-to-read-sheet-music",
            "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": 1,
            "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…"
        }
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