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                    "title": "Tritone Substitution: The subV7 Chord That Still Resolves",
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                    "title": "Just Intonation, Beating and Why Intervals Sound in Tune",
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                    "title": "Capo and Transposition: How a Capo Changes the Key",
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            "tags": [
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                "jazz harmony",
                "ninth chords"
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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": 31,
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            "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…"
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            "title": "Common Chord Progressions: Loops, Numerals and Why They Work",
            "dek": "The chord loops that songwriters reuse most, in Roman numerals and in the keys of C and G, with the reasons they work and how to vary them.",
            "topic": "songwriting",
            "topic_name": "Songwriting & Composition",
            "tags": [
                "chord progression",
                "songwriting",
                "roman numerals"
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            "excerpt": "A common chord progression is a short loop of chords, usually four, that repeats under a melody. Many of the most reused loops share three features. Their roots move by fourths and fifths at least some of the time, neighbouring chords share notes, and the…",
            "score": 28,
            "partial": false,
            "snippet": "A common chord progression is a short loop of chords, usually four, that repeats under a melody. Many of the most reused loops share three features. Their roots move by fourths and fifths at least…"
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            "dek": "Why ii V I is the backbone of tonal music: voice leading, turnarounds, minor-key forms, and the jazz reharm toolkit.",
            "topic": "harmony",
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                "ii-V-I",
                "chord progression",
                "jazz harmony"
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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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            "snippet": "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…"
        },
        {
            "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": [
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                "harmony",
                "nineteenth century"
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            "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": 28,
            "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": "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",
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                "chord symbols",
                "lead sheet",
                "seventh chords"
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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": 27,
            "partial": false,
            "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…"
        },
        {
            "slug": "reading-an-orchestral-score",
            "title": "Reading an Orchestral Score: Layout and a Method for First Reads",
            "dek": "An orchestral score stacks every part on one page. This covers the standard order of the families, the brackets and clefs, and a first-read method.",
            "topic": "orchestration",
            "topic_name": "Orchestration",
            "tags": [
                "score reading",
                "orchestration",
                "transposition"
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            "date": "2026-10-11",
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            "excerpt": "An orchestral score prints every instrument on its own staff, grouped by family and stacked in a fixed order from the top: woodwinds, brass, percussion, harp and keyboards, then strings. Brackets and braces show what plays together, and barlines run through…",
            "score": 27,
            "partial": false,
            "snippet": "An orchestral score prints every instrument on its own staff, grouped by family and stacked in a fixed order from the top: woodwinds, brass, percussion, harp and keyboards, then strings. Brackets and…"
        },
        {
            "slug": "string-bowing-and-articulation",
            "title": "String Bowing and Articulation: A Practical Arranger Guide",
            "dek": "Legato, detache, spiccato, staccato, martelé: what each bowing sounds like, how to mark it, and writing playable string parts.",
            "topic": "orchestration",
            "topic_name": "Orchestration",
            "tags": [
                "strings",
                "bowing",
                "articulation"
            ],
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            "date": "2026-10-04",
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            "json_url": "https://musics.name/api/article.json?slug=string-bowing-and-articulation",
            "excerpt": "Strings speak through the bow, and every articulation mark is an instruction to the right arm. Arrangers who understand what each bowing asks physically write parts that play themselves; those who treat marks as decoration produce parts that fight back. #The…",
            "score": 27,
            "partial": false,
            "snippet": "Strings speak through the bow, and every articulation mark is an instruction to the right arm. Arrangers who understand what each bowing asks physically write parts that play themselves; those who…"
        },
        {
            "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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            "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": 27,
            "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": "woodwind-doubling-and-balance",
            "title": "Woodwind Doubling and Balance in Orchestral Writing",
            "dek": "Which woodwind doublings blend and which stick out: unisons, octaves, registers, dynamics, and practical balance.",
            "topic": "orchestration",
            "topic_name": "Orchestration",
            "tags": [
                "woodwinds",
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                "orchestration"
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            "url": "https://musics.name/articles/woodwind-doubling-and-balance/",
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            "excerpt": "Woodwinds are the orchestra’s color stops. They rarely carry the structure alone, but every skilled orchestration threads them through string and brass textures for brilliance, shadow, and blend. Knowing which doublings fuse and which grate is the core of the…",
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            "snippet": "Woodwinds are the orchestra’s color stops. They rarely carry the structure alone, but every skilled orchestration threads them through string and brass textures for brilliance, shadow, and blend…"
        },
        {
            "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": 27,
            "partial": false,
            "snippet": "“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…"
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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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            "json_url": "https://musics.name/api/article.json?slug=capo-and-transposition",
            "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": 26,
            "partial": false,
            "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…"
        },
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            "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"
            ],
            "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": 26,
            "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…"
        },
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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"
            ],
            "level": "intro",
            "date": "2026-10-11",
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            "words": 1357,
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            "url": "https://musics.name/articles/suspended-chords-sus2-sus4/",
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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": 26,
            "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…"
        },
        {
            "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,
            "reading_time_minutes": 6,
            "url": "https://musics.name/articles/neapolitan-sixth-chord/",
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            "json_url": "https://musics.name/api/article.json?slug=neapolitan-sixth-chord",
            "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": 26,
            "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…"
        }
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