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Originally composed for four wind instruments, Pari intervallo was later arranged by the composer for organ (and later for recorder quartet), making it one of only a handful of works for organ within the composer's oeuvre. It was written in memory of a recently deceased friend and was one of seven works premiered in 1976 under the title Tintinnabuli. These pieces effectively and eponymously marked the beginning of a compositional style with connections to minimalism, but with a distinctive sonority entirely 's.

The title of Pari intervallo quite accurately describes the compositional process functioning in this and other 'tintinnabular' works. It is characterized by a homophonic combination of two kinds of voices (to use 's helpful terminology): M- (melodic) lines and T- (tintinnabular) lines. Access Nova Scotia Practice Drivers Test.

M-lines usually move diatonically in a scalar or stepwise fashion, while T-lines emphasize a triadic sonority by leaping between chord tones. This effect is full of harmonic variety, but remains harmonically stable. In essence, 's system insists on tonality, but divorces it from the idea of harmonic 'function.' The harmony isn't supposed to take the listener somewhere and then lead him/her back home; rather, it stays put while the listener explores it. Pari intervallo is comprised of two such pairs. Two M-voices are given in the outer voices, while the two inner voices undertake tintinnabular functions.