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                    "title": "Tonic",
                    "url": "https://musics.name/glossary/tonic/",
                    "description": "The first degree of a scale, the note that a key is named for and that tonal music treats as its home and…",
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                },
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                    "kind": "term",
                    "title": "Tonicisation",
                    "url": "https://musics.name/glossary/tonicization/",
                    "description": "A brief passage that makes a chord other than the tonic sound like a temporary home, usually through a…",
                    "score": 25
                },
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                    "kind": "term",
                    "title": "Diatonic",
                    "url": "https://musics.name/glossary/diatonic/",
                    "description": "Describes notes drawn from a single seven-note scale, such as the white keys of the piano, with no chromatic…",
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                    "description": "An eight-note scale that alternates whole and half steps, also called the diminished scale, such as C D E♭ F…",
                    "score": 7
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                {
                    "kind": "term",
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                    "description": "A five-note scale per octave with no half steps, such as the major pentatonic C D E G A.",
                    "score": 7
                },
                {
                    "kind": "term",
                    "title": "Subtonic",
                    "url": "https://musics.name/glossary/subtonic/",
                    "description": "The seventh degree when it sits a whole step below the tonic, as in the natural minor scale and the…",
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                },
                {
                    "kind": "term",
                    "title": "Supertonic",
                    "url": "https://musics.name/glossary/supertonic/",
                    "description": "The second degree of the scale, a whole step above the tonic, which supports the ii chord.",
                    "score": 7
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                {
                    "kind": "term",
                    "title": "Syntonic comma",
                    "url": "https://musics.name/glossary/syntonic-comma/",
                    "description": "The small interval of 81:80, about 21.51 cents, equal to the difference between a Pythagorean major third and…",
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                },
                {
                    "kind": "term",
                    "title": "Authentic cadence",
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                    "description": "A close from the dominant to the tonic, V to I or V7 to I, which ends a phrase. Its perfect and imperfect…",
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                },
                {
                    "kind": "term",
                    "title": "Plagal cadence",
                    "url": "https://musics.name/glossary/plagal-cadence/",
                    "description": "A close from IV to I, known as the Amen cadence. It confirms the tonic and is weaker than the authentic…",
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                }
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        },
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                    "kind": "article",
                    "title": "Diatonic Chords in Major and Minor Keys Explained",
                    "url": "https://musics.name/articles/diatonic-chords-in-major-and-minor/",
                    "description": "The diatonic chords of a key are the triads built on each scale degree, using only the notes of that key’s scale. In C major they are C, Dm, Em, F, G, Am and B°. The natural minor scale gives a different set, Am, B°, C,…",
                    "score": 54
                },
                {
                    "kind": "article",
                    "title": "Pentatonic and Blues Scales: Patterns With a Purpose",
                    "url": "https://musics.name/articles/pentatonic-and-blues-scales/",
                    "description": "…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": 54
                },
                {
                    "kind": "article",
                    "title": "Secondary Dominants and How Tonicization Works",
                    "url": "https://musics.name/articles/secondary-dominants/",
                    "description": "…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……",
                    "score": 54
                },
                {
                    "kind": "article",
                    "title": "Functional Harmony: Tonic, Predominant, Dominant",
                    "url": "https://musics.name/articles/functional-harmony/",
                    "description": "…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": 48
                },
                {
                    "kind": "article",
                    "title": "Scale Degrees Explained: Numbers, Names and Solfège",
                    "url": "https://musics.name/articles/scale-degrees-and-solfege/",
                    "description": "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 attac…",
                    "score": 42
                },
                {
                    "kind": "article",
                    "title": "Romantic Chromaticism and the Expanding Tonic",
                    "url": "https://musics.name/articles/romantic-chromaticism/",
                    "description": "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…",
                    "score": 40
                },
                {
                    "kind": "article",
                    "title": "Ear Training for Intervals: A Method You Can Practise Daily",
                    "url": "https://musics.name/articles/ear-training-intervals-method/",
                    "description": "Learn intervals in small sets, anchored to a tonic, and sing each one before you name it. Start with three intervals that sound clearly different, and add a fourth only when the first three are reliable in random order.…",
                    "score": 36
                },
                {
                    "kind": "article",
                    "title": "Relative and Parallel Keys Explained: Major and Minor Partners",
                    "url": "https://musics.name/articles/relative-and-parallel-keys/",
                    "description": "…same key signature and starts a minor third below the major tonic: A minor for C major. The parallel minor starts on the same tonic and changes the mode: C minor for C……",
                    "score": 36
                },
                {
                    "kind": "article",
                    "title": "Seventh Chords and How They Resolve in Tonal Harmony",
                    "url": "https://musics.name/articles/seventh-chords-and-resolution/",
                    "description": "…nation. That single fact explains the behaviour of every diatonic seventh chord in tonal music……",
                    "score": 36
                },
                {
                    "kind": "article",
                    "title": "How to Transcribe Music by Ear: A Step-by-Step Procedure",
                    "url": "https://musics.name/articles/how-to-transcribe-music-by-ear/",
                    "description": "Transcribe in layers, in the order the harmony needs them: key, bass, chord roots, chord qualities, melody, and rhythm last. Check each layer on an instrument before you start the next. Write the…",
                    "score": 31
                },
                {
                    "kind": "article",
                    "title": "How to Write a Melody Over Chords, Note by Note",
                    "url": "https://musics.name/articles/how-to-write-a-melody-over-chords/",
                    "description": "A melody over chords works when its strong beats agree with the harmony and its weak beats move by step. Chord tones on the strong beats tell the listener which chord is sounding, and the notes…",
                    "score": 31
                },
                {
                    "kind": "article",
                    "title": "The Major Scale Formula: Whole and Half Steps Explained",
                    "url": "https://musics.name/articles/major-scale-formula/",
                    "description": "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…",
                    "score": 31
                },
                {
                    "kind": "article",
                    "title": "Roman Numeral Analysis: How to Label a Chord Progression",
                    "url": "https://musics.name/articles/roman-numeral-analysis/",
                    "description": "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…",
                    "score": 31
                },
                {
                    "kind": "article",
                    "title": "The Twelve-Bar Blues: Form, Chord Plan and Variations",
                    "url": "https://musics.name/articles/twelve-bar-blues-form/",
                    "description": "A twelve-bar blues is a form of twelve bars in 4/4, grouped into three phrases of four bars each. The first two phrases usually carry the same words over different chords, and the third answers them…",
                    "score": 31
                },
                {
                    "kind": "article",
                    "title": "Binary and Ternary Form: Dance Patterns to Art Music",
                    "url": "https://musics.name/articles/binary-and-ternary-form/",
                    "description": "Most short pieces are either two halves or three parts. Binary and ternary forms name those designs, and their cadence plans, repeat schemes, and return strategies explain everything from Bach gigues…",
                    "score": 31
                },
                {
                    "kind": "article",
                    "title": "Church Modes From Dorian to Locrian: A Practical Guide",
                    "url": "https://musics.name/articles/church-modes-dorian-to-locrian/",
                    "description": "…nger. The church modes name those other settlements: six diatonic rotations, each with its own final, its own color notes, and its own repertoire from chant to jazz. #The seven……",
                    "score": 31
                },
                {
                    "kind": "article",
                    "title": "The ii V I Progression in Major, Minor and Jazz Styles",
                    "url": "https://musics.name/articles/ii-v-i-progression/",
                    "description": "…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……",
                    "score": 31
                },
                {
                    "kind": "article",
                    "title": "The Neapolitan Sixth Chord: Sound, Spelling, Resolution",
                    "url": "https://musics.name/articles/neapolitan-sixth-chord/",
                    "description": "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…",
                    "score": 31
                },
                {
                    "kind": "article",
                    "title": "Rondo Form: How Refrains and Episodes Structure a Movement",
                    "url": "https://musics.name/articles/rondo-form/",
                    "description": "Long finales can feel like one bright passage after another with no landmarks. Rondo form fixes that listening problem by returning to a familiar refrain between contrasting episodes, so the shape of…",
                    "score": 31
                },
                {
                    "kind": "article",
                    "title": "Tritone Substitution: The subV7 Chord That Still Resolves",
                    "url": "https://musics.name/articles/tritone-substitution/",
                    "description": "…y 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……",
                    "score": 31
                }
            ]
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                    "title": "Major pentatonic scale",
                    "url": "https://musics.name/scales/major-pentatonic/",
                    "description": "Major pentatonic: five notes taken from the major scale without the fourth and seventh, an open, consonant collection with no semitones.",
                    "score": 7
                },
                {
                    "kind": "scale",
                    "title": "Minor pentatonic scale",
                    "url": "https://musics.name/scales/minor-pentatonic/",
                    "description": "Minor pentatonic: five notes from natural minor without the second and sixth, the core scale of blues and rock guitar and of countless solos.",
                    "score": 7
                },
                {
                    "kind": "scale",
                    "title": "Diminished (whole–half) scale",
                    "url": "https://musics.name/scales/diminished-whole-half/",
                    "description": "Whole-half diminished: eight notes alternating whole and half steps, built from two diminished seventh chords, used over dominant sevenths.",
                    "score": 2
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        }
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            "title": "Diatonic Chords in Major and Minor Keys Explained",
            "dek": "Diatonic chords are the triads built on each scale degree from the key's own notes. Here are their qualities in major and minor, worked out in C and A.",
            "topic": "harmony",
            "topic_name": "Harmony",
            "tags": [
                "diatonic harmony",
                "triads",
                "scale degrees"
            ],
            "level": "intro",
            "date": "2026-10-11",
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            "excerpt": "The diatonic chords of a key are the triads built on each scale degree, using only the notes of that key’s scale. In C major they are C, Dm, Em, F, G, Am and B°. The natural minor scale gives a different set, Am, B°, C, Dm, Em, F and G, and the harmonic minor…",
            "score": 54,
            "partial": false,
            "snippet": "The diatonic chords of a key are the triads built on each scale degree, using only the notes of that key’s scale. In C major they are C, Dm, Em, F, G, Am and B°. The natural minor scale gives a different set, Am, B°, C,…"
        },
        {
            "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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            "json_url": "https://musics.name/api/article.json?slug=pentatonic-and-blues-scales",
            "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": 54,
            "partial": false,
            "snippet": "…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……"
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            "slug": "secondary-dominants",
            "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",
            "topic_name": "Harmony",
            "tags": [
                "secondary dominant",
                "tonicization",
                "chromatic harmony"
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            "date": "2026-09-25",
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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…",
            "score": 54,
            "partial": false,
            "snippet": "…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……"
        },
        {
            "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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            "level": "intro",
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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": 48,
            "partial": false,
            "snippet": "…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……"
        },
        {
            "slug": "scale-degrees-and-solfege",
            "title": "Scale Degrees Explained: Numbers, Names and Solfège",
            "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.",
            "topic": "fundamentals",
            "topic_name": "Fundamentals",
            "tags": [
                "scale degree",
                "solfege",
                "tonic",
                "ear training"
            ],
            "level": "intro",
            "date": "2026-10-11",
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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…",
            "score": 42,
            "partial": false,
            "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 are in. Solfège attac…"
        },
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            "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",
            "updated": null,
            "words": 1624,
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            "json_url": "https://musics.name/api/article.json?slug=romantic-chromaticism",
            "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": 40,
            "partial": false,
            "snippet": "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…"
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            "slug": "ear-training-intervals-method",
            "title": "Ear Training for Intervals: A Method You Can Practise Daily",
            "dek": "Interval recognition comes faster with a method: three intervals tied to a tonic, sung before they are named, and a short daily routine you can keep.",
            "topic": "practice",
            "topic_name": "Ear Training & Practice",
            "tags": [
                "ear training",
                "intervals",
                "solfège"
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            "level": "intro",
            "date": "2026-10-11",
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            "json_url": "https://musics.name/api/article.json?slug=ear-training-intervals-method",
            "excerpt": "Learn intervals in small sets, anchored to a tonic, and sing each one before you name it. Start with three intervals that sound clearly different, and add a fourth only when the first three are reliable in random order. Practise for about ten minutes a day…",
            "score": 36,
            "partial": false,
            "snippet": "Learn intervals in small sets, anchored to a tonic, and sing each one before you name it. Start with three intervals that sound clearly different, and add a fourth only when the first three are reliable in random order.…"
        },
        {
            "slug": "relative-and-parallel-keys",
            "title": "Relative and Parallel Keys Explained: Major and Minor Partners",
            "dek": "A major key has two close minor partners. The relative minor shares its key signature, the parallel minor shares its tonic, and each pair connects keys in a different way.",
            "topic": "fundamentals",
            "topic_name": "Fundamentals",
            "tags": [
                "relative key",
                "parallel key",
                "minor key",
                "key signature"
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            "level": "intro",
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            "json_url": "https://musics.name/api/article.json?slug=relative-and-parallel-keys",
            "excerpt": "A major key has two minor partners that are easy to confuse. The relative minor uses the same key signature and starts a minor third below the major tonic: A minor for C major. The parallel minor starts on the same tonic and changes the mode: C minor for C…",
            "score": 36,
            "partial": false,
            "snippet": "…same key signature and starts a minor third below the major tonic: A minor for C major. The parallel minor starts on the same tonic and changes the mode: C minor for C……"
        },
        {
            "slug": "seventh-chords-and-resolution",
            "title": "Seventh Chords and How They Resolve in Tonal Harmony",
            "dek": "The chordal seventh falls, the leading tone rises, and the tritone at the centre of V7 resolves by step. What each diatonic seventh chord is for.",
            "topic": "harmony",
            "topic_name": "Harmony",
            "tags": [
                "seventh chords",
                "dominant seventh",
                "resolution"
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            "level": "intermediate",
            "date": "2026-09-25",
            "updated": null,
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            "json_url": "https://musics.name/api/article.json?slug=seventh-chords-and-resolution",
            "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…",
            "score": 36,
            "partial": false,
            "snippet": "…nation. That single fact explains the behaviour of every diatonic seventh chord in tonal music……"
        },
        {
            "slug": "how-to-transcribe-music-by-ear",
            "title": "How to Transcribe Music by Ear: A Step-by-Step Procedure",
            "dek": "Transcribe by ear in a fixed order: key and bass first, then chords by root and quality, then the melody by scale degree, and rhythm last.",
            "topic": "practice",
            "topic_name": "Ear Training & Practice",
            "tags": [
                "transcription",
                "ear training",
                "harmony"
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            "level": "intermediate",
            "date": "2026-10-11",
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            "excerpt": "Transcribe in layers, in the order the harmony needs them: key, bass, chord roots, chord qualities, melody, and rhythm last. Check each layer on an instrument before you start the next. Write the chords as Roman numerals so the result transposes, and keep a…",
            "score": 31,
            "partial": false,
            "snippet": "Transcribe in layers, in the order the harmony needs them: key, bass, chord roots, chord qualities, melody, and rhythm last. Check each layer on an instrument before you start the next. Write the…"
        },
        {
            "slug": "how-to-write-a-melody-over-chords",
            "title": "How to Write a Melody Over Chords, Note by Note",
            "dek": "Put chord tones on strong beats, approach tension notes by step, and keep the line singable. A worked melody over C, G, Am and F shows each choice.",
            "topic": "songwriting",
            "topic_name": "Songwriting & Composition",
            "tags": [
                "melody writing",
                "chord tones",
                "songwriting"
            ],
            "level": "intermediate",
            "date": "2026-10-11",
            "updated": null,
            "words": 1456,
            "reading_time_minutes": 7,
            "url": "https://musics.name/articles/how-to-write-a-melody-over-chords/",
            "markdown_url": "https://musics.name/articles/how-to-write-a-melody-over-chords.md",
            "json_url": "https://musics.name/api/article.json?slug=how-to-write-a-melody-over-chords",
            "excerpt": "A melody over chords works when its strong beats agree with the harmony and its weak beats move by step. Chord tones on the strong beats tell the listener which chord is sounding, and the notes between them give the line its direction. The worked example…",
            "score": 31,
            "partial": false,
            "snippet": "A melody over chords works when its strong beats agree with the harmony and its weak beats move by step. Chord tones on the strong beats tell the listener which chord is sounding, and the notes…"
        },
        {
            "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",
            "tags": [
                "major scale",
                "scale",
                "intervals",
                "key signature"
            ],
            "level": "intro",
            "date": "2026-10-11",
            "updated": null,
            "words": 1384,
            "reading_time_minutes": 7,
            "url": "https://musics.name/articles/major-scale-formula/",
            "markdown_url": "https://musics.name/articles/major-scale-formula.md",
            "json_url": "https://musics.name/api/article.json?slug=major-scale-formula",
            "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…",
            "score": 31,
            "partial": false,
            "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…"
        },
        {
            "slug": "roman-numeral-analysis",
            "title": "Roman Numeral Analysis: How to Label a Chord Progression",
            "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",
            "topic_name": "Harmony",
            "tags": [
                "roman numerals",
                "harmonic analysis",
                "chord progressions"
            ],
            "level": "intro",
            "date": "2026-10-11",
            "updated": null,
            "words": 1430,
            "reading_time_minutes": 7,
            "url": "https://musics.name/articles/roman-numeral-analysis/",
            "markdown_url": "https://musics.name/articles/roman-numeral-analysis.md",
            "json_url": "https://musics.name/api/article.json?slug=roman-numeral-analysis",
            "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…",
            "score": 31,
            "partial": false,
            "snippet": "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…"
        },
        {
            "slug": "twelve-bar-blues-form",
            "title": "The Twelve-Bar Blues: Form, Chord Plan and Variations",
            "dek": "Twelve bars of 4/4 in three four-bar phrases, moving through I, IV and V. The standard plan in C and F, the quick change, the turnaround and the minor blues.",
            "topic": "form",
            "topic_name": "Form",
            "tags": [
                "twelve-bar blues",
                "form",
                "blues"
            ],
            "level": "intro",
            "date": "2026-10-11",
            "updated": null,
            "words": 1580,
            "reading_time_minutes": 8,
            "url": "https://musics.name/articles/twelve-bar-blues-form/",
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            "json_url": "https://musics.name/api/article.json?slug=twelve-bar-blues-form",
            "excerpt": "A twelve-bar blues is a form of twelve bars in 4/4, grouped into three phrases of four bars each. The first two phrases usually carry the same words over different chords, and the third answers them. In the standard plan, the chords are I for four bars, IV…",
            "score": 31,
            "partial": false,
            "snippet": "A twelve-bar blues is a form of twelve bars in 4/4, grouped into three phrases of four bars each. The first two phrases usually carry the same words over different chords, and the third answers them…"
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        {
            "slug": "binary-and-ternary-form",
            "title": "Binary and Ternary Form: Dance Patterns to Art Music",
            "dek": "Simple and rounded binary, ABA and da capo: the cadence plans that define each section and how dances grew into art forms.",
            "topic": "form",
            "topic_name": "Form",
            "tags": [
                "binary form",
                "ternary form",
                "dance movements"
            ],
            "level": "intro",
            "date": "2026-10-04",
            "updated": null,
            "words": 1226,
            "reading_time_minutes": 6,
            "url": "https://musics.name/articles/binary-and-ternary-form/",
            "markdown_url": "https://musics.name/articles/binary-and-ternary-form.md",
            "json_url": "https://musics.name/api/article.json?slug=binary-and-ternary-form",
            "excerpt": "Most short pieces are either two halves or three parts. Binary and ternary forms name those designs, and their cadence plans, repeat schemes, and return strategies explain everything from Bach gigues to pop bridges. Learn these two and large forms start…",
            "score": 31,
            "partial": false,
            "snippet": "Most short pieces are either two halves or three parts. Binary and ternary forms name those designs, and their cadence plans, repeat schemes, and return strategies explain everything from Bach gigues…"
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        {
            "slug": "church-modes-dorian-to-locrian",
            "title": "Church Modes From Dorian to Locrian: A Practical Guide",
            "dek": "Dorian, Phrygian, Lydian, Mixolydian, Aeolian and Locrian explained by pattern and color, with hearing tips and modern uses.",
            "topic": "fundamentals",
            "topic_name": "Fundamentals",
            "tags": [
                "modes",
                "scales",
                "melody"
            ],
            "level": "intermediate",
            "date": "2026-10-04",
            "updated": null,
            "words": 1307,
            "reading_time_minutes": 7,
            "url": "https://musics.name/articles/church-modes-dorian-to-locrian/",
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            "json_url": "https://musics.name/api/article.json?slug=church-modes-dorian-to-locrian",
            "excerpt": "Major and minor feel like the only options until a melody settles somewhere stranger. The church modes name those other settlements: six diatonic rotations, each with its own final, its own color notes, and its own repertoire from chant to jazz. #The seven…",
            "score": 31,
            "partial": false,
            "snippet": "…nger. The church modes name those other settlements: six diatonic rotations, each with its own final, its own color notes, and its own repertoire from chant to jazz. #The seven……"
        },
        {
            "slug": "ii-v-i-progression",
            "title": "The ii V I Progression in Major, Minor and Jazz Styles",
            "dek": "Why ii V I is the backbone of tonal music: voice leading, turnarounds, minor-key forms, and the jazz reharm toolkit.",
            "topic": "harmony",
            "topic_name": "Harmony",
            "tags": [
                "ii-V-I",
                "chord progression",
                "jazz harmony"
            ],
            "level": "intermediate",
            "date": "2026-10-04",
            "updated": null,
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            "reading_time_minutes": 6,
            "url": "https://musics.name/articles/ii-v-i-progression/",
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            "json_url": "https://musics.name/api/article.json?slug=ii-v-i-progression",
            "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…",
            "score": 31,
            "partial": false,
            "snippet": "…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……"
        },
        {
            "slug": "neapolitan-sixth-chord",
            "title": "The Neapolitan Sixth Chord: Sound, Spelling, Resolution",
            "dek": "The flat-II chord that darkens minor keys: how the Neapolitan sixth is built, voiced, resolved, and used from Bach to Schubert.",
            "topic": "harmony",
            "topic_name": "Harmony",
            "tags": [
                "neapolitan",
                "chromatic harmony",
                "cadence"
            ],
            "level": "advanced",
            "date": "2026-10-04",
            "updated": null,
            "words": 1251,
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            "url": "https://musics.name/articles/neapolitan-sixth-chord/",
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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…",
            "score": 31,
            "partial": false,
            "snippet": "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…"
        },
        {
            "slug": "rondo-form",
            "title": "Rondo Form: How Refrains and Episodes Structure a Movement",
            "dek": "Rondo form alternates a returning refrain with contrasting episodes. Learn classical key plans, sonata-rondo hybrids, and why refrains return altered.",
            "topic": "form",
            "topic_name": "Form",
            "tags": [
                "rondo",
                "musical form",
                "classical style"
            ],
            "level": "intermediate",
            "date": "2026-10-04",
            "updated": null,
            "words": 1840,
            "reading_time_minutes": 9,
            "url": "https://musics.name/articles/rondo-form/",
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            "excerpt": "Long finales can feel like one bright passage after another with no landmarks. Rondo form fixes that listening problem by returning to a familiar refrain between contrasting episodes, so the shape of the movement stays clear from start to finish. #How rondo…",
            "score": 31,
            "partial": false,
            "snippet": "Long finales can feel like one bright passage after another with no landmarks. Rondo form fixes that listening problem by returning to a familiar refrain between contrasting episodes, so the shape of…"
        },
        {
            "slug": "tritone-substitution",
            "title": "Tritone Substitution: The subV7 Chord That Still Resolves",
            "dek": "Replace any dominant with the dominant a tritone away: why subV7 works, how it smooths bass lines, and where jazz standards hide it.",
            "topic": "harmony",
            "topic_name": "Harmony",
            "tags": [
                "tritone substitution",
                "jazz harmony",
                "dominant"
            ],
            "level": "advanced",
            "date": "2026-10-04",
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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…",
            "score": 31,
            "partial": false,
            "snippet": "…y 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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    "ranking": "Direct answers first (chord symbols, scale and key names are parsed). Then tools, keys, scales, chords, intervals, glossary and topics by title match; articles rank by title (12) > tags (6) > dek (5) > topic (3) > body frequency (max 6), +25 when every query token matches.",
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}