Page:Letters to a Young Lady (Czerny).djvu/81

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on other degrees of the scale, it is very dissonant, though still capable of being employed. Ex.

$\new Staff \relative { \time 4/4 \override Score.TimeSignature #'stencil = ##f <c' e g b>1 <d f a c> <e g b d> <f a c e> \bar ".." }$

If, in the first of these four chords, we were to make the seventh minor, it would certainly sound much better; but it would no longer be in C major, but in F. Ex.

$\new PianoStaff << \new Staff \relative { \time 4/4 \override Score.TimeSignature #'stencil = ##f \override Staff.Rest.style = #'classical <c' e g bes>2 <c f a>4 r \bar ".." } \new Staff { \clef bass \override Staff.Rest.style = #'classical c2 f4 r } >>$

I have already made you acquainted with seven chords. If you give yourself the trouble to transpose them into the other keys, you will speedily be able to trace them out in every composition, under whatever forms they may occasionally be hidden. We will, in our next, learn the remaining chords; and till then believe me, &c.