The new ending, " *-sei ", carried over into all three branches of Balto-Slavic and came to be used in all athematic root verbs in Baltic.
32.
The singular aorist indicative active of some athematic verbs ( ??????, ????; ??????, ???? ) uses a stem formed by the suffix-?? and takes first aorist rather than root aorist endings.
33.
In many Slavic languages, particularly South and West Slavic, the athematic ending was analogically extended to other verbs and even replaced the thematic ending completely in some languages ( Slovene, Serbo-Croatian ).
34.
Verbs forming the underived thematic presents are overwhelmingly bivalent / transitive, and there are no statives in the Late PIE thematic inflection since all the original Early PIE statives either remained athematic presents, or they became Western PIE perfects.
35.
Again, athematic nouns show ablaut and accent shifts, mainly between the " strong " cases ( nominative and vocative in all numbers, and accusative singular / dual ) and the " weak " cases ( all others ).
36.
In the descendant languages, athematic verbs were often extended with a thematic vowel, likely because of the complications resulting from the consonant clusters formed when the mostly consonant-initial endings were added directly onto the mostly consonant-final stems.
37.
While Old English still contrasted " vowel stems " ( thematic ) and " consonant stems " ( athematic ), this distinction is no longer a meaningful one in Modern English, and other languages whose morphology has been drastically simplified by analogy.
38.
In many common grammatical forms such as the nominative plural of o-stems, the second person imperative, in the second singular of athematic verbs and in the dative singular of the clitic personal pronouns, * ai became * + .
39.
The present tense descended from the original PIE present imperfective, although there were a few verbs with a present tense that descended from the aorist, in some cases even the aorist subjunctive ( which for athematic verbs was identical to the thematic present ).
40.
The plethora of mallet percussion and the resolutely athematic texture bring to mind the Stockhausen of " Gruppen " for three orchestras ( or " Carre, " for four ) and the Boulez of " Le Marteau Sans Maitre ."
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