Fundamentals
Relative and Parallel Keys Explained: Major and Minor Partners
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.
Search
Type a chord symbol or a scale name and go straight to it, or search tools, glossary terms and every article. Results are ranked by where the words appear.
Direct answer
Articles
Fundamentals
Natural, Harmonic and Melodic Minor Scales Compared
Three minor scales, three different jobs. What each form changes, why composers switch between them, and how to hear the difference.
Harmony
Diatonic Chords in Major and Minor Keys Explained
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.
Harmony
The ii V I Progression in Major, Minor and Jazz Styles
Why ii V I is the backbone of tonal music: voice leading, turnarounds, minor-key forms, and the jazz reharm toolkit.
Harmony
Chord Symbols Explained: Major, Minor, Seventh and Slash Chords
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.
Harmony
Diminished and Half-Diminished Sevenths Explained
The fully diminished seventh is four notes stacked in minor thirds, and the half-diminished seventh is a diminished triad with a minor seventh. This is how each one spells and resolves in C.
Harmony
Suspended Chords: Sus2 and Sus4 Explained
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.
Form
The Twelve-Bar Blues: Form, Chord Plan and Variations
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.
Harmony
The Neapolitan Sixth Chord: Sound, Spelling, Resolution
The flat-II chord that darkens minor keys: how the Neapolitan sixth is built, voiced, resolved, and used from Bach to Schubert.
Fundamentals
Pentatonic and Blues Scales: Patterns With a Purpose
Major and minor pentatonics plus the blues scale: the patterns, the blue notes, and why five notes carry so much melody.
Harmony
Harmonizing a Melody: How to Choose the Chords
Harmonizing a melody means choosing a chord for each strong beat that contains the melody note. This worked example uses the opening of Ode to Joy in C.
Harmony
Chromatic Mediants Explained: Major Chords a Third Away
A chromatic mediant is a triad a third from the tonic that lies outside the key. For C major the four are E♭, E, A♭ and A major, and each one shares a note with the C triad.
Fundamentals
Interval Inversion and Compound Intervals Explained
Inverting an interval moves its lower note up an octave, and the two numbers add to nine. Compound intervals are wider than an octave and take a simpler name.
Harmony
The Tonnetz Explained: Euler's Lattice and Chord Moves
The Tonnetz is a lattice of fifths and major thirds whose triangles are triads. Leonhard Euler described it in 1739, and this is how to read it.
Fundamentals
Enharmonic Equivalents and Double Accidentals Explained
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.
Guitar & Fretboard
Barre Chords Explained: The E Shape and the A Shape
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.
Guitar & Fretboard
CAGED System Explained: Five Shapes That Cover the Neck
CAGED turns five open chords into movable shapes. This explains how the shapes connect, how to name a moved chord from its root string, and how to find one chord in several places.
Songwriting & Composition
Common Chord Progressions: Loops, Numerals and Why They Work
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.
Ear Training & Practice
Ear Training for Intervals: A Method You Can Practise Daily
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.
Songwriting & Composition
How to Write a Melody Over Chords, Note by Note
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.
Harmony
Roman Numeral Analysis: How to Label a Chord Progression
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.
Fundamentals
Scale Degrees Explained: Numbers, Names and Solfège
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.
Songwriting & Composition
Song Form: Verse, Chorus and Bridge Explained
How verse, pre-chorus, chorus and bridge are arranged in common song forms, what each section is for, and how contrast makes the chorus land.
Fundamentals
Church Modes From Dorian to Locrian: A Practical Guide
Dorian, Phrygian, Lydian, Mixolydian, Aeolian and Locrian explained by pattern and color, with hearing tips and modern uses.
Fundamentals
Circle of Fifths Explained: Keys, Signatures, Changes
The circle of fifths organizes every key by signature and closeness. How to read it, memorize it, and use it for modulation and chord choice.
Form
Rondo Form: How Refrains and Episodes Structure a Movement
Rondo form alternates a returning refrain with contrasting episodes. Learn classical key plans, sonata-rondo hybrids, and why refrains return altered.
Harmony
Borrowed Chords: Modal Mixture in Practice
Mixture borrows chords from the parallel mode. What the common borrowed chords do to a phrase, how they resolve, and where labelling fails.
Harmony
Cadences: How Phrases End in Tonal Music
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.
Harmony
Functional Harmony: Tonic, Predominant, Dominant
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.
Tuning & Temperament
Just Intonation, Beating and Why Intervals Sound in Tune
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.