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            "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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            "date": "2026-10-04",
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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": 24,
            "partial": true,
            "snippet": "…emove the two most restless degrees from a seven-note scale and what remains is a collection where every note gets……"
        },
        {
            "slug": "romantic-chromaticism",
            "title": "Romantic Chromaticism and the Expanding Tonic",
            "dek": "Chromatic harmony widened a key without leaving it: the resources that do the work, the Tristan chord, and how to analyse it without over-labelling.",
            "topic": "history",
            "topic_name": "Music History",
            "tags": [
                "chromaticism",
                "harmony",
                "nineteenth century"
            ],
            "level": "advanced",
            "date": "2026-09-25",
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            "excerpt": "Nineteenth-century harmony is usually described as chromatic, and the word hides the important part. A chromatic passage is not a passage that has left its key. It is a passage that has widened the key until it includes notes and chords the older vocabulary…",
            "score": 24,
            "partial": true,
            "snippet": "…neteenth-century harmony is usually described as chromatic, and the word hides the important part. A chromatic passage is not a passage that has left its key. It is a passage that has widened the key until it includes no…"
        },
        {
            "slug": "enharmonic-equivalents-and-double-accidentals",
            "title": "Enharmonic Equivalents and Double Accidentals Explained",
            "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",
            "topic_name": "Fundamentals",
            "tags": [
                "enharmonic",
                "accidentals",
                "notation"
            ],
            "level": "intermediate",
            "date": "2026-10-14",
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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…",
            "score": 23,
            "partial": true,
            "snippet": "…ic 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…"
        },
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            "slug": "barre-chords-e-shape-a-shape",
            "title": "Barre Chords Explained: The E Shape and the A Shape",
            "dek": "A barre chord is an open chord moved up the neck. The E shape and the A shape are the two to learn first, and each one is built from its open chord by a simple rule of offsets.",
            "topic": "guitar",
            "topic_name": "Guitar & Fretboard",
            "tags": [
                "barre chord",
                "guitar chords",
                "moveable shapes"
            ],
            "level": "intro",
            "date": "2026-10-11",
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            "excerpt": "A barre chord is an open chord played higher on the neck, with one finger lying across several strings to take the place of the nut. The E shape and the A shape are the two to learn first, because each one is an open chord whose root sits on a known string…",
            "score": 23,
            "partial": true,
            "snippet": "…s several strings to take the place of the nut. The E shape and the A shape are the two to learn first, because each one is an open chord whose root sits on a known string……"
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            "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"
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            "level": "intro",
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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": 23,
            "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",
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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": 23,
            "partial": true,
            "snippet": "…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……"
        },
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            "slug": "chord-symbols-explained",
            "title": "Chord Symbols Explained: Major, Minor, Seventh and Slash Chords",
            "dek": "A chord symbol names the root, the quality, the extra notes and the bass. Here is how to read Cmaj7, C7, Cm7, C/E and C7b9, and the notes each one contains.",
            "topic": "harmony",
            "topic_name": "Harmony",
            "tags": [
                "chord symbols",
                "lead sheet",
                "seventh chords"
            ],
            "level": "intro",
            "date": "2026-10-11",
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            "excerpt": "A chord symbol gives the root, the quality, any extra notes and, after a slash, the bass note. C is a C major triad (C, E, G). Cm is a C minor triad (C, Eb, G). C7 adds a minor seventh (Bb), and Cmaj7 adds a major seventh (B). Each symbol is a short…",
            "score": 23,
            "partial": true,
            "snippet": "A chord symbol gives the root, the quality, any extra notes and, after a slash, the bass note. C is a C major triad (C, E, G). Cm is a C minor triad (C, Eb, G). C7 adds a minor seventh (Bb), and Cmaj7 adds a major sevent…"
        }
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