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Antifreeze products for automotive use containing propylene glycol in place of ethylene glycol are available, and are generally considered safer to use, as it possesses an unpleasant taste in contrast to the perceived "sweet" taste of toxic ethylene glycol-based coolants, and produces only lactic acid in an animal's body, as their muscles do ...
Antifreeze is commonly consumed due to its sweet taste cause by the ethylene glycol, [38] and is also commonly consumed as a surrogate alcohol due to its high alcohol contents. To prevent consumption due to taste, many brands have bitter additives, but many [ 39 ] [ 40 ] [ 41 ] studies do not support the idea bitter additives reduce ingestions.
The 1985 Austrian diethylene glycol wine scandal (German: Glykolwein-Skandal) was an incident in which several Austrian wineries illegally adulterated their wines using the toxic substance diethylene glycol (a minor ingredient in some brands of antifreeze) to make the wines taste sweeter and more full-bodied in the style of late harvest wines. [1]
The vi chord before the IV chord in this progression (creating I–vi–IV–V–I) is used as a means to prolong the tonic chord, as the vi or submediant chord is commonly used as a substitute for the tonic chord, and to ease the voice leading of the bass line: in a I–vi–IV–V–I progression (without any chordal inversions) the bass ...
Suzannah Clark, a music professor at Harvard, connected the piece's resurgence in popularity to the harmonic structure, a common pattern similar to the romanesca.The harmonies are complex, but combine into a pattern that is easily understood by the listener with the help of the canon format, a style in which the melody is staggered across multiple voices (as in "Three Blind Mice"). [1]
These offer different kinds of deep or ringing sounds, chord voicings, and fingerings on the guitar. Alternative tunings are common in folk music. Alternative tunings change the fingering of common chords when playing the guitar, and this can ease the playing of certain chords while simultaneously increase the difficulty of playing other chords.
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In jazz music, on the other hand, such chords are extremely common, and in this setting the mystic chord can be viewed simply as a C 13 ♯ 11 chord with the fifth omitted. In the score to the right is an example of a Duke Ellington composition that uses a different voicing of this chord at the end of the second bar, played on E (E 13 ♯ 11).