Page:Letters to a Young Lady (Czerny).djvu/72

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accompaniments, quite different notes, which therefore form quite different chords; and

2ndly. Because each is resolved in quite another manner. You will shortly learn this difference more fully.

You will also have further remarked, that, in each species of interval, the notes retain the same alphabetical names, whether it is minor, major, or superfluous; the difference is produced merely by the marks of transposition, whether ♯ or ♭.

Here follows the same scheme of intervals in two more keys.

In F sharp.

$\new Staff \relative { \key fis \major \override Score.TimeSignature #'stencil = ##f \set Staff.extraNatural = ##f \time 2/4 << { fis'^\markup { \teeny Unisons. } fis! \bar ".." \time 3/4 g^\markup { \teeny Seconds. } gis gisis \bar ".." aes^\markup { \teeny Thirds. } a ais \bar ".." bes^\markup { \teeny Fourths. } b bis \bar ".." c^\markup { \teeny Fifths. } cis cisis \bar ".." \time 4/4 des^\markup { \teeny Sixths. } d dis disis \bar ".." \time 3/4 es^\markup { \teeny Sevenths. } e eis \bar ".." f^\markup { \teeny Octaves. } fis fisis \bar ".." \time 2/4 g^\markup { \teeny Ninths. } gis \bar ".." } \\ { fis,_\markup { \teeny Perfect. } fisis_\markup { \teeny Superfluous. } fis_\markup { \teeny Minor. } fis_\markup { \teeny Major. } fis_\markup { \teeny Superfluous. } fis_\markup { \teeny Diminished. } fis_\markup { \teeny Minor. } fis_\markup { \teeny Major. } fis_\markup { \teeny Diminished. } fis_\markup { \teeny Perfect. } fis_\markup { \teeny Superfluous. } fis_\markup { \teeny False. } fis_\markup { \teeny Perfect. } fis_\markup { \teeny Superfl. } fis_\markup { \teeny Dimin. } fis_\markup { \teeny Minor. } fis_\markup { \teeny Major. } fis_\markup { \teeny Superfl. } fis_\markup { \teeny Dim. } fis_\markup { \teeny Min. } fis_\markup { \teeny Maj. } fis!_\markup { \teeny Dim. } fis_\markup { \teeny Perf. } fis!_\markup { \teeny Superfl. } fis_\markup { \teeny Min. } fis_\markup { \teeny Maj. } } >> }$