Harmony
Non-Chord Tones: Passing, Neighbour, Suspension and More
A non-chord tone is a note that sounds over a chord without belonging to it. Here are the main types, how each is approached and left, and how to write them.
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Glossary
Articles
Harmony
Voice Leading: Why the Rules Exist in Four-Part Writing
Parallel fifths, tendency tones, spacing and doubling, read as solutions to one problem: keeping four lines heard as four lines.
Harmony
Tritone Substitution: The subV7 Chord That Still Resolves
Replace any dominant with the dominant a tritone away: why subV7 works, how it smooths bass lines, and where jazz standards hide it.
Counterpoint
Types of Motion in Voice Leading: Parallel, Contrary, Oblique
Parallel, similar, oblique and contrary motion defined between two voices, what each does to their independence, and which one counterpoint prefers.
Harmony
Seventh Chords and How They Resolve in Tonal Harmony
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.
Counterpoint
Parallel Fifths and Octaves: Why the Rule Exists
Parallel fifths and octaves are voices that move together and keep a perfect interval. Here is why strict voice leading forbids them and where the rule bends.
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.
Tuning & Temperament
Equal Temperament: What It Costs and What It Buys
Twelve equal semitones solve the problem pure intervals create. The cost is small in fifths, large in thirds, and paid by every fixed-pitch instrument.
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.
Music History
The Rise of Functional Tonality: From Modes to Keys
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.
Harmony
Secondary Dominants and How Tonicization Works
A secondary dominant makes any chord a temporary tonic. How to spell one, where it turns up, and what cancels the effect.
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.
Harmony
Augmented Sixth Chords: Italian, French and German Types
Italian, French and German sixth chords: how each type is built, how they resolve to V, and their use in enharmonic modulation.
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.
Harmony
Modulation: How a Key Change Is Confirmed
A modulation is not a chromatic chord; it is a new key confirmed by cadence. The routes into one, and how to read them off the page.
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
Figured Bass: Reading Intervals Above the Bass Line
Figures name intervals above the bass, not chords. What each shorthand means, how accidentals override the key, and what the player decides.
Fundamentals
Key Signatures and the Order of Sharps and Flats
Sharps arrive in the order F C G D A E B and flats in reverse. The order is the circle of fifths written out, one signature at a time.
Harmony
Triads and Inversions: Root Position, Sixth, Six-Four
Root position, first and second inversion: how triad voicings shape the bass line, when to invert, and what the figures mean.
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.
Music History
Romantic Chromaticism and the Expanding Tonic
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.
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
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.
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.
Harmony
Harmonic Sequences and Circle Progressions That Modulate
Descending fifths, ascending 5-6 patterns, Pachelbel loops: how sequences work, when they modulate, and how to write them.
Music History
From Ars Nova to the Renaissance: How Notation Changed Music
Rhythm took two centuries longer than pitch to notate. Mensural notation solved it with ratios, and the Renaissance then replaced black ink with white.
Counterpoint
First Species Counterpoint, Rule by Rule
Species counterpoint isolates one compositional decision at a time. First species isolates the hardest one: how to make two voices sound like two voices.
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.
Orchestration
Brass Choir Voicing: Spacing, Balance and Dynamics
Score for trumpets, horns, trombones and tuba: open vs close voicing, dynamic balance, chorale style and fanfare writing.
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.