Page:Letters to a Young Lady (Czerny).djvu/80

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Each of these new chords has also its different positions. Ex.

$\new PianoStaff << \new Staff \relative { \time 4/4 \override Score.TimeSignature #'stencil = ##f <g' d' f>2 <d' f g> <f g d'>1 \bar ".." <g, b f'>2 <b f' g> <f' g b>1 \bar ".." <g, b d>2 <b d g> <d g b>1 \bar ".." } \new Staff { \clef bass b2^\markup { \teeny First, }_\markup { \teeny { Chord of the sixth and fifth. } } b^\markup { \teeny second, } b1^\markup { \teeny { third position. } } d'2^\markup { \teeny First, }_\markup { \teeny { Chord of the sixth, fourth, and third. } } d'^\markup { \teeny second, } d'1^\markup { \teeny { third position. } } f'2^\markup { \teeny First, }_\markup { \teeny { Chord of the second. } } f'^\markup { \teeny second, } f'1^\markup { \teeny { third position. } } } >>$

The natural resolution of these chords is also into the perfect common chord. The chord of the second, however, is resolved by one of the inversions of that chord. Ex.

$\new PianoStaff << \new Staff \relative { \time 4/4 \override Score.TimeSignature #'stencil = ##f \override Staff.Rest.style = #'classical <g' d' f>2 <g c e>4 r \bar ".." <g b f'>2 <g c e>4 r \bar ".." <g b d>2 <g c>4 r \bar ".." } \new Staff { \clef bass \override Staff.Rest.style = #'classical b2 c'4 r d'2 c'4 r f'2 e'4 r } >>$

In the chord of the second, you will observe, Miss, that the discord of the second, though rather harsh in itself, sounds pleasingly enough in this application of it.

When the chord of the seventh is played