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"Sacred Taoist Dance," composed this year, hardly seemed a Glass work at all: instead of the repeated rippling figures that characterize Mr. Glass's music, it is couched in short, conventional phrases, with harmonies far less consonant than usual.
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No new letters were evolved; the weak (less forceful) consonants were distinguished only in instances in which there were Latin spellings that could be utilized (e.g., strong ll: weak l, strong rr: weak r, nn:n, c ch, t:th) or with the help of the punctum delens (s:ṡ, f:ḟ), a dot that shows that the sound is not pronounced.
As a result, the 22 letters of the Paleo-Hebrew alphabet numbered less than the consonant phonemes of ancient Biblical Hebrew; in particular, the letters could each mark two different phonemes.
Pammer et al. [1] obtained an early left IFG response to words and to anagrams of real words (e.g., HOSUE, derived from HOUSE), while Wilson et al. [33] reported comparable activation of the left IFG by words and pseudowords, but less activation by consonant strings.
Consider the elements: the finest beaches in the United States and maybe even the world, surf spots that intrigue the sport's best, volcanoes, rainforests housing birds and plants not found elsewhere, and a language so poetic, so powerful that it can exist with less than ten consonants.
Are stop consonants slower and less accurately perceived than nonstop consonants for RD children?
This feature is more evident for stop and fricative consonants and less significant for liquids and nasals [ 10].
Jonathan says something that I cannot focus on because he pronounces the word "buttons" "buh-ons," so I have to keep repeating it and laughing like I have consonant-less Tourette's.
Form a seven letter word, score 50 pts, use your Q without a U, challenge your opponents version of "EUOUAE" (a consonant-less word that's legal? Yep!) then clink hot cocoa mugs together and call it a fun night, right?
Auditory memory representations for stop consonants may be less strong because their distinctive cues are of brief duration and they involve fast transitions in the speech signal (e.g., Crowder, 1971).
The strong rhythm section erased its tracks all the time, sorting among shifts in tempo and feel, routing through grooves and far less comfortable patterns; it used strong consonant riffs and bizarrely raw (though never haphazard) atonal harmonies.
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Since I tried Ludwig back in 2017, I have been constantly using it in both editing and translation. Ever since, I suggest it to my translators at ProSciEditing.

Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com