3. Part A
According to the article, the chord progression I-V-ví-IV and the diatonic phrygian tetrachord share which
two characteristics?
A. They help songs come to a satisfying resolution.
B. They are cyclical in nature.
C. They have been used in songs across time and genres.
D. They are the first chords musicians learn.
Part B
Select three details from the text that support the answer in Part A.
A. "This chord progression is popular across time and genres of music."
B. "...composer Rob Kapilow admires the progression as a cycle... 'You want to just keep cycling.""
C. "It's an interestingly adaptable sequence of notes. It can be delicate. It can be intense. It can be fiery."
D. "This sequence is often played in the bass line of a song that repeats over and over and over."
E. "Also sometimes called the Andalusian Cadence, the notes serve as an engine of sorts, propelling the music
forward."

based on the biblical principle proverbs 16: 32, i agree with the author of the passage "better is it that it takes longer to be angry than the strong " to the extent that i share the philosophy that the nobility of heart demonstrates the strength of a person. those who are very proud, get angry easily and show their anger toward others are really weak, but those who are noble and do not constantly obfuscate or contain their feelings of anger, are strong people

the thousand and one nights – or, as i prefer to call them in the following for purely practical reasons: the arabian nights – as we perceive them three hundred years after antoine galland’s epochal french adaptation bear a distinct arabic imprint. meanwhile, the commonly accepted model for their textual history acknowledges various stages in the conceptualization and effective formation of both the collection’s characteristic frame story and the embedded repertoire. the vast majority of tales in the preserved manuscripts of the nights has been integrated into the collection during two periods of arabic influence, the so-called baghdad and cairo periods (gerhardt 1963: 115–374). these “arabic” stages are preceded by an iranian version, probably dating to pre-islamic times, which in its turn profits from both structural devices and narrative contents originating from indian tradition. considering the eminent position that iran and iranian culture hold in the early stages of the textual history of the arabian nights, surprisingly few details are known concerning the collection’s relation to and its actual position within the iranian cultural context. in the following, i will discuss links between the arabian nights and iranian culture on several levels. in surveying these links, i will treat five major areas: (1) the iranian prototype of the nights; (2) tales of alleged persian origin; (3) persian characters within the tales; (4)persian translations of the arabian nights; and (5) the position of the arabian nights in modern iran