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                    "title": "Romantic Chromaticism and the Expanding Tonic",
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                    "title": "Tritone Substitution: The subV7 Chord That Still Resolves",
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            "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…",
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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": "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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            "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",
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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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            "slug": "augmented-sixth-chords",
            "title": "Augmented Sixth Chords: Italian, French and German Types",
            "dek": "Italian, French and German sixth chords: how each type is built, how they resolve to V, and their use in enharmonic modulation.",
            "topic": "harmony",
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            "excerpt": "Some chords exist for a single gesture: two voices stretching outward to an octave. The augmented sixth family turns that gesture into three distinct sonorities, each with its own color, its own resolution habits, and its own role in reaching the dominant…",
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            "slug": "sequences-and-circle-progressions",
            "title": "Harmonic Sequences and Circle Progressions That Modulate",
            "dek": "Descending fifths, ascending 5-6 patterns, Pachelbel loops: how sequences work, when they modulate, and how to write them.",
            "topic": "harmony",
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            "excerpt": "Repetition with transposition is the oldest engine in harmony. A short pattern restated a step lower, then again, carries the music forward with no new material, and the regularity lets listeners track long spans of modulatory travel without losing their…",
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            "snippet": "Repetition with transposition is the oldest engine in harmony. A short pattern restated a step lower, then again, carries the music forward with no new material, and the regularity lets listeners…"
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            "title": "Triads and Inversions: Root Position, Sixth, Six-Four",
            "dek": "Root position, first and second inversion: how triad voicings shape the bass line, when to invert, and what the figures mean.",
            "topic": "harmony",
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            "excerpt": "Three notes can sit in any vertical order, yet harmony treats the arrangements differently. Triads and inversions are the study of which chord member stands in the bass and why that choice changes the weight, the direction, and the manners of the harmony…",
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            "title": "Figured Bass: Reading Intervals Above the Bass Line",
            "dek": "Figures name intervals above the bass, not chords. What each shorthand means, how accidentals override the key, and what the player decides.",
            "topic": "harmony",
            "topic_name": "Harmony",
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            "excerpt": "A figured bass is a bass line with numerals underneath it, and the numerals are not chord symbols. Each one names an interval above the note it sits under, counted from that note. The player supplies the rest. Understanding what is written and what is…",
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            "snippet": "A figured bass is a bass line with numerals underneath it, and the numerals are not chord symbols. Each one names an interval above the note it sits under, counted from that note. The player supplies…"
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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",
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            "tags": [
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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…",
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            "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": "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"
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            "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": 34,
            "partial": false,
            "snippet": "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…"
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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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            "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": 34,
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            "snippet": "…page of polyphony has to state that relationship for every voice at once. European music had a……"
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            "slug": "cadences-and-phrase-endings",
            "title": "Cadences: How Phrases End in Tonal Music",
            "dek": "Authentic, half, plagal and deceptive cadences, and the real reason a close sounds strong: what happens in the bass, the top voice and the metre.",
            "topic": "harmony",
            "topic_name": "Harmony",
            "tags": [
                "cadence",
                "phrase structure",
                "tonality"
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            "date": "2026-09-25",
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            "excerpt": "Music has punctuation, and it is made of harmony. A phrase ends when the harmony, the bass, the metre and the melody all agree that something has finished. That agreement is a cadence, and its strength is not a matter of taste: it comes from four or five…",
            "score": 34,
            "partial": false,
            "snippet": "Music has punctuation, and it is made of harmony. A phrase ends when the harmony, the bass, the metre and the melody all agree that something has finished. That agreement is a cadence, and its…"
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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"
            ],
            "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": 34,
            "partial": false,
            "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": "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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            "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": "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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            "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": 32,
            "partial": false,
            "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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