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Actually, the harmonic composition of Stravinsky’s Ragtime begins diatonic but conveniently moves atonally via dissonant motivic sequencing. Getting rid of clear diatonic progressions will really give tonality more electrical power because it continues to be illusive and unheard of. Proof of this occurs in the form on the blues wherever http://marioxtlct.bloggerswise.com/14943951/the-greatest-guide-to-essay写作专业机构


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