Detailed feature reference

Create and resolve tension guide

CADENCE · CREATE AND RESOLVE TENSION

START WITH AN EXAMPLE
Learn → Practice & review → Explore harmony → choose Piano or Guitar → Begin the original example.
The four-bar A7 → Dm7 → G7 → Cmaj7 example is original Cadence material. Compare
minor-third and major-third versions of the first chord pair, imagine or sing
the resolution, then choose which version contains the dominant seventh.
Comparisons give each chord four equal beats at 76 bpm. They reduce the first
chord to root, third, fifth and seventh, without the source's slash bass or extra
extensions. The destination is identically voiced in both versions.

Explain the applied dominant, play its rising-semitone third-to-root line, then
write another ending. Each step can be skipped explicitly. Wrong answers stay
on the same activity, with the retry labelled as supported practice.

EDITABLE SCORE ANALYSIS
Open Library → a piece → Score analysis. Select reviewed bars and a local major
key. Choose the harmony staff if the part has more than one. Click a chord card
to write Roman numerals or another analysis label, choose a function, state the
style/convention and explain what you hear. Keep up to six alternative readings.
The first reading appears above the staff; all alternatives remain in the editor.
The full score is visible and scrollable. Compose also has a Score analysis button
for the four-bar area around the selected event. The pathway's Score notebook
opens the same notebook; opening it during a return counts as support.

Suggestions use written chord symbols and your chosen major key, not automatic
note-to-chord inference. They are starting interpretations. They do not prove
modulation, inversions, phrasing or a single stylistically correct analysis.
Imported PDF pages must be reviewed first. After a musical edit, the old readings
remain associated with the old revision; the current score starts a fresh reading.
Changing a reading never changes the original music. Reopening a stale editing
window cannot overwrite a newer reading.

USE YOUR OWN PIECE
From Score analysis, choose Explore tension · Piano/Guitar. The first pathway
supports 1–8 reviewed bars, up to 32 changes, with an applied dominant seventh
resolving a fifth down to a major/minor chord other than the stated home tonic.
It selects the first such pair. Select a narrower passage to explore another.
Chord symbols, including a carried-in symbol, must come from reviewed source pages.
For other progressions, the score notebook is still editable; this first lesson
will explain why it cannot generate its particular exercise there.

PIANO AND GUITAR
Piano: select the Roland FP-10 or another MIDI source, choose Listen to my keyboard,
then play two separate notes, releasing each. Any octave is accepted, but the
second must be one semitone above the first and the correct two pitch classes.
Avoid pedal for a clear line. The check measures pitch/order, not timing, touch
or expressive quality. Existing held notes are ignored until released. Playback,
navigation and device resets stop capture without inventing an answer.

Guitar: find the rising semitone on a suggested string/fret pair, then try the
available full-chord shapes. These use the current tuning/capo. Hear each shape
and the line. Save your own report of having tried them. This pathway does not
automatically assess guitar chord recognition, fingering or technique.

YOUR ENDING
Write my alternative ending opens two blank 4/4 bars with the selected chord pair,
as a new composition linked to its source. Change notes, rhythm and harmony in
Compose; guitar includes editable tab. Play it back using Compose or Hear my ending.
Return to the tension pathway and describe a choice. Finishing requires notes and
a reflection; it does not grade artistic quality. Opening the answer again reuses
that same composition. The original piece and the ending link to one another.

INDEPENDENT RETURNS
Hearing, Explaining, Playing and Creating have separate schedules, also separate
between piano and guitar. Initial work is supported. Practice home brings due
skills back with explanations and relevant note hints hidden. A clean independent
first answer can extend only that skill's interval. A hint, wrong attempt or retry
cannot be counted as clean recall. Early practice does not push the due date away.
Guitar self-reports and creative reflection schedule a revisit without granting
measured mastery. The schedule is a transparent practice policy, not a validated
estimate of learning. Physical-instrument and learner evaluation are still needed.

READING AND PEDAGOGY
Open Music Theory, Version 2 (Gotham, Gullings, Hamm, Hughes, Jarvis, Lavengood,
Peterson; edited by Maher): tonicization and jazz harmony.
https://viva.pressbooks.pub/openmusictheory/chapter/tonicization/
https://viva.pressbooks.pub/openmusictheory/part/jazz/
MIT OpenCourseWare, Brian Robison, Harmony and Counterpoint II (Spring 2005):
analysis combined with sight-singing, keyboard work and composition.
https://ocw.mit.edu/courses/21m-302-harmony-and-counterpoint-ii-spring-2005/pages/syllabus/

These are linked references. Cadence's examples, activities and adaptation rules
are original; no textbook extracts, external recordings or private books are
bundled. The full pathway works offline; opening a reading link uses your browser.
No OpenRouter request, paid model use or microphone permission is required.