261:"The reason for avoiding parallel 5ths and 8ves has to do with the nature of counterpoint. The P8 and P5 are the most stable of intervals, and to link two voices through parallel motion at such intervals interferes with their independence much more than would parallel motion at 3rds or 6ths." "Since the octave really represents a repetition of the same tone in a different register, if two or more octaves occur in succession, the result is a reduction in the number of voices; for example, in a two-voice setting, one of the voices would temporarily disappear, and along with it the rationale of the intended two-voice setting. The octave acts merely as a doubling; if, in a particular instance, it is not intended to act as such, this must be sufficiently emphasized by what precedes and follows it. But even the succession of two octaves brings the sense of doubling into the foreground. Of course, this must not be confused with an intentional doubling used to strengthen sonority, for which, however, strict counterpoint offers no motivation." Similarly, "Parallel 8ves...reduce the number of voices...since the voice that doubles at the 8ve...is not an independent voice but merely a duplication. Parallel 8ves...may also confuse the functions of the voices...If the upper voice succession...is merely a duplication of the bass, then the actual
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perfect fifth, we have just created a hidden fifth by descending motion. The first instrument can then complete its descent to 1 as the lower instrument moves to 3. The second hidden fifth of the pair is obtained by making the upward maneuver a mirror image of the downward maneuver. These direct fifths are preferable to other less acceptable voice-leading alternatives including doubling the third scale degree at the octave, and limiting the low instrument to the use of only the first and fifth scale degrees. Although traditional horn fifths come in pairs and in passing, the acceptability of horn fifths has been generalized to any situation of hidden fifths where the top voice moves by step.
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period, it has been theorized that all dissonances should be properly resolved to a perfect consonance (there are few exceptions). Therefore, parallel fourths above the bass are generally dismissed in voice leading as a series of consecutive unresolved dissonances. However parallel fourths in upper voices (especially as part of a parallel "6-3" sonority) are common, and formed the basis of fifteenth-century
20:
695:. Most of the examples he provides involve accompaniment figuration in small note values that moves in parallel fifths with a slower moving bass. The background voice-leading of such progressions is oblique motion, with the consecutive fifths resulting from the ornamentation of the sustaining voice with a chromatic lower neighbor. Such "Mozart fifths" occur in bars 254–255 of the Act I finale of
85:
395:, motion between perfect and diminished fifths is often avoided, with some avoiding only motion one way (diminished to perfect fifth or perfect to diminished fifth) or only if the bass is involved. Notice that unequal fifths resemble similar rather than parallel motion, since the perfect fifth is seven semitones and the diminished fifth is six semitones.
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suspension, or repeated as an appoggiatura, before continuing down to the second degree". However, seeing as the vast majority of German augmented sixth chords in common-practice works resolve to cadential six-four chords to avoid parallel fifths, it can be concluded that common-practice composers deemed these fifths undesirable in most situations.
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Consecutive fifths are typically used to evoke the sound of music in medieval times or exotic places. The use of parallel fifths (or fourths) to refer to the sound of traditional
Chinese or other kinds of Eastern music was once commonplace in film scores and songs. Since these passages are an obvious
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Traditional horn fifths actually come in pairs. Begin with the upper instrument on the third scale degree and the lower instrument on the tonic. Then move the upper instrument to the second scale degree and the second instrument down to the fifth scale degree. Because the distance from 5 up to 2 is a
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of a P5. The literature deals with them less systematically however, and theorists have often restricted their use. Theorists commonly disallow consecutive perfect fourths involving the lowest part, especially between the lowest part and the highest part. Since the beginning of the common practice
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is more frequently acceptable. "The parallel fifths arising from the natural progression to the dominant are always considered acceptable, except when occurring between soprano and bass. They are most often seen between tenor and bass. The third degree is, however, frequently tied over as a
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Consecutive fifths were usually considered forbidden, even if disguised (such as in a "horn fifth") or broken up by an intervening note (such as the mediant in a triad). The interval may form part of a chord of any number of notes, and may be set well apart from the rest of the
235:," and it is with the transition to Renaissance-style counterpoint that the use of parallel perfect consonances was consistently avoided in practice. The convention dates approximately from 1450. Composers avoided writing consecutive fifths between two independent parts, such as
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would often be permanently arranged for each single key to speak in a consecutive fifth. It is believed this practice dates to Roman times. A positive organ having this configuration has been reconstructed recently by Van der Putten and is housed in
526:. Conventional style dictates that such a progression be avoided; but it is sometimes permitted under certain conditions, such as the following: the interval does not involve either the highest or the lowest part, the interval does not occur between
620:, not in fifths, but by the ninth century there is evidence that singing in parallel intervals (fifths, octaves, and fourths) commonly ornamented the performance of chant. This is documented in the anonymous ninth-century theory treatises known as
551:. The typical two-instrument configuration would have the high instrument playing a scalar melody against a lower instrument confined to the notes of the tonic chord. Horn fifths occur when the upper voice is on the first three scale degrees.
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In the course of the 19th century consecutive fifths became more common, arising out of new textures and new conceptions of propriety in voice leading generally. They even became a stylistic feature in the work of some composers, notably
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or beyond. For contrapuntal and harmonic analysis this does not add new parts at all. By convention, common practice sometimes allows more transient parallel octaves, or even fifths, with certain melodic embellishments such as
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811:(for example, one part moving from a C to a higher C, and another part repeating a G higher than both of those Cs), the intervals are not considered to differ in the relevant way, so parallel fifths do not occur.
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The restriction to independently moving parts is important. It has always been standard to double a part in unison or at the octave, even at several different octaves simultaneously, for the duration of a
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in disregard of the rule forbidding consecutive fifths. The disregard is justified by the fact that the essential objection to consecutive fifths is that they produce the effect of shifting hurdy-gurdy
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Thus, the word "parallel" is not truly synonymous with "consecutive", as a fifth followed by another fifth approached with contrary motion would still count as consecutive fifths. The term
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originates not only in the requirement for contrary motion in counterpoint but in a gradual and eventually self-conscious attempt to distance classical music from folk traditions. As
767:) as a result of the progression arising from a B-major harmony (presented as a dominant of e-minor). Theorists have tried to make the case that this resolution of the
534:, or the interval is approached in the higher part by step. The details differ considerably from period to period, and even among composers writing in the same period.
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Consecutive fifths are avoided in part because they cause a loss of individuality between parts. This lack of individuality is even more pronounced when parts move in
591:, "twin-singing", goes back to the Middle Ages and is still taught in schools today. In this style, a melody is sung against itself, typically in parallel fifths.
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above the fifths. This means that there are two sets of parallel fifths, one directly on top of the other. This is especially prominent in the sacred music of the
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Parallel fifths are used in, and are evocative of, many musical genres, such as various kinds of
Western folk and medieval music, as well as popular genres like
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displacement is irrelevant to this aspect of musical grammar; for example, a parallel twelfth (i.e., an octave plus a fifth) is equivalent to a parallel fifth.
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became the first theorist to prohibit the practice. However, parallel fifths were still common in 14th-century music. The early 15th-century composer
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oversimplification and parody of the styles that they seek to evoke, this use of parallel fifths declined during the last half of the 20th century.
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in progression create parallel fifths, though the prohibition is not relevant since there is no intention to create independent voices, and since
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The prohibition concerning fifths did not just apply to perfect fifths. Some theorists objected also to the progression from a perfect fifth to a
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a perfect fifth above (or a perfect fourth below) the proper pitch. Whatever its origin, singing in parallel fifths became commonplace in early
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Consecutive fifths by contrary motion are generally avoided, meaning parallels may not be corrected by moving one part up or down an octave.
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251:, or finely interwoven in its midst. But the interval was always to be quit by any movement that did not land on another fifth.
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547:(hence their name). In all but their extreme high registers, these brass instruments are limited to the notes of the major
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style. As an example of this type of allowed parallel perfect fourth in common practice music, see the final movement of
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Situations other than consecutive fifths create contrasting melodic lines, melodies that are different from each other.
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The traditional terms for these progressions are as vague and variable as the traditional rules that govern them.
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in parallel motion; for example the progression from C and G to B and F (B and F forming a diminished fifth).
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instead of oblique or contrary motion. A single fifth or octave approached this way is sometimes called an
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whose theme in bars 37–40 consists of parallel fourths in the right hand part (but not above the bass).
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616:. This practice is well-founded in early European musical traditions. Plainsong was originally sung in
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1176:
Mast, Paul (1980). "Brahms's Study, Octaven u. Quinten u. A., with
Schenker's Commentary Translated",
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Consecutive fifths (as well as fourths and octaves) are commonly used to mimic the sound of
Gregorian
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177:
944:
Meech, Sanford B. (1935). "Three
Musical Treatises in English from a Fifteenth-Century Manuscript".
431:. Prohibition does not apply as the parts are not independent, octaves are not parallel but doubled.
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691:" ("Octaves and fifths"), he identifies many cases of apparent consecutive fifths in the works of
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likewise forbade the motion of "2 acordis perfite of one kynde, as 2 unisouns, 2 5ths, 2 8ths, 2
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or in unison. These are therefore also generally forbidden among independently moving parts.
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chords to avoid these fifths. The
Jupiter example is unique in that Mozart spells the fifth
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Meech, Sanford. "Three
Musical Treatises in English from a Fifteenth-Century Manuscript",
543:. Horn fifths arise from the limitation of valveless brass instruments to the notes of the
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The identification and avoidance of perfect fifths in the instruction of counterpoint and
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930:, Vol. III, 12; as cited in Drabkin, William. "Consecutive fifths, consecutive octaves."
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A Chord in Time: The
Evolution of the Augmented Sixth Sonority from Monteverdi to Mahler
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Another use of the term "Mozart fifths" results from the non-standard resolution of the
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Das Wesen des musikalischen
Kunstwerks: Eine EinfĂĽhrung in Die Lehre Heinrich Schenkers
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Singing in consecutive fifths may have originated from the accidental singing of a
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Origins of the
Popular Style: The Antecedents of Twentieth-Century Popular Music
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that Mozart used occasionally, such as in the retransition of the finale of the
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by men. It is believed that this harmonic style dates from pre-Christian times.
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An important acceptable case of hidden fifths in the common practice period are
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807:: from a true uncompounded fifth to a twelfth, for example. If parts move by
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of those extreme parts, the interval is approached in one part by a semitone
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Parallel fifths from German sixth resolution in Mozart's Symphony K.543.
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1 and 5, is the primary harmonic interval, the interval that divides the
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may therefore be misleading because some consecutive fifths occur with
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voice. This interpretation of course makes no sense, for it turns the
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445:(consecutive perfect fourths) are allowed, even though a P4 is the
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inside out." "Parallel 5ths are avoided because the 5th, formed by
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is to maintain the relative independence of the individual parts."
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help to distinguish the more formal idiom of classical music from
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Counterpoint: the polyphonic vocal style of the sixteenth century
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A common theory is that the presence of the 3rd harmonic of the
1071:, 5th edition revised DeVoto, Mark, pp. 309–312, 477–480.
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octaves or fifths, occur when two independent parts approach a
330:, in which consecutive fifths commonly appear in the form of
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melodic lines, melodies that are duplicates of each other,
1158:, English translation 1939, reprint by Dover, NY, 1992.
650:, which divides the scale into six-note patterns called
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frequently uses parallel fifths, and sometimes parallel
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perfect fifth between the same two musical parts (or
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in tonal music, in which "one of the basic goals ...
636:music notation, based on four-note patterns called
728:(bars 221–222, second bassoon and basses), in the
991:Introduction to the Theory of Heinrich Schenker
367:." A more contemporary example would be guitar
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483:are approached in similar motion from below.
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199:influenced the creation of the prohibition.
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338:. The prohibition of consecutive fifths in
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1180:. Cited in Jonas (1982), p. 112n84.
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1019:Tonal Harmony in Concept & Practice
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932:Grove Music Online. Oxford Music Online
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701:, in bar 80 of the Act II sextet from
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926:, c1300; Coussemaker, Edmond (1876),
605:region, in which the pieces are sung
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1198:ed. L. Macy (Accessed 8 June 2006),
888:Music in Theory and Practice, Vol. I
924:Optima introductio in contrapunctum
299:doesn't always follow the rules of
16:Type of progression in music theory
1092:, Vol. I, p.133. Seventh Edition.
711:and in bar 189 of the overture to
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830:.(Piston 1987, pp. 306–312.)
914:Kostka & Payne (1995), p.84.
709:Violin Sonata in A Major, K. 526
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567:In the medieval period, large
346:explains in his discussion of
203:Development of the prohibition
172:. However, parallel motion in
145:are progressions in which the
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1090:Music: In Theory and Practice
460:Mozart's A minor Piano sonata
1088:Benward & Saker (2003).
1042:, vol. 1, p. 142. Quoted in
886:Benward & Saker (2003).
722:German augmented sixth chord
399:Parallel octaves and fourths
1139:Piston (1987), p. 422.
860:Kostka & Payne (1995).
514:perfect fifth or octave by
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1109:Piston (1987), p. 32.
1040:Essays in musical analysis
934:. Oxford University Press.
23:Consecutive fifths create
997:). Trans. John Rothgeb.
734:Symphony No. 39 (Mozart)
340:European classical music
1118:Ellis, Mark R. (2010).
1067:Piston, Walter (1987).
1038:Tovey, Donald Francis.
1021:, p.50. Third edition.
864:, p.85. Third Edition.
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383:Related progressions
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275:scale degrees
272:
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151:perfect fifth
148:
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67:
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48:
39:
30:
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1227:Counterpoint
1195:
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795:
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704:Don Giovanni
702:
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688:
682:
651:
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627:
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599:major ninths
593:
588:
582:
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511:
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415:," bars 1–7
392:
391:
373:
369:power chords
348:Joseph Haydn
317:
293:Power chords
260:
253:
245:
225:Leonel Power
206:
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167:
154:
142:
138:
132:
124:Play exposed
1194:: Iceland,
714:Zauberflöte
648:solmization
639:tetrachords
540:horn fifths
456:fauxbourdon
356:hurdy-gurdy
328:folk musics
112:Play hidden
1216:Categories
952:(3): 242.
687:'s essay "
653:hexachords
607:a cappella
498:So-called
451:complement
297:rock music
170:rock music
29:transposed
974:164028948
890:, p.155.
614:plainsong
589:tvĂsöngur
578:Groningen
447:inversion
427:features
217:conductus
155:different
1203:Archived
1171:Speculum
1046:(1989).
989:(1982).
946:Speculum
776:See also
764:♮
758:♯
752:♭
147:interval
25:parallel
1122:, p.5.
1069:Harmony
966:2848378
846:Sources
634:Daseian
585:Iceland
508:covered
324:popular
320:harmony
271:texture
263:soprano
249:harmony
243:lines.
213:organum
1162:
1126:
1096:
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1025:
1001:
972:
964:
894:
868:
823:phrase
761:to G/D
693:Mozart
685:Brahms
618:unison
512:single
504:direct
377:Chopin
365:drones
190:
163:Octave
159:voices
118:&
970:S2CID
962:JSTOR
788:Notes
603:Guria
549:triad
409:Sousa
360:shift
279:scale
237:tenor
233:15ths
229:12ths
209:chant
149:of a
135:music
1160:ISBN
1124:ISBN
1094:ISBN
1073:ISBN
1052:ISBN
1023:ISBN
999:ISBN
892:ISBN
866:ISBN
674:Play
571:and
532:step
528:both
489:Play
421:Play
411:'s "
334:and
326:and
309:Play
267:alto
241:bass
239:and
231:, 2
215:and
75:Play
56:Play
37:Play
954:doi
683:In
646:'s
583:In
522:or
506:or
350:'s
283:key
141:or
133:In
97:to
1218::
1154:.
1010:^
968:.
960:.
950:10
948:.
903:^
877:^
853:^
755:/D
749:(A
717:.
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31:.
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1005:.
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956::
898:.
872:.
741:4
479:G
102:G
93:C
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