Page:Letters to a Young Lady (Czerny).djvu/82

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70

LETTER IX.

CONTINUATION OF THOROUGH-BASS.

Dear Miss,

Each interval assists in the formation of some particular chord; and if, therefore, we go through all the intervals in this point of view, you will become tolerably well acquainted with all the chords which can be employed in music.

The perfect unison is no real interval; but two different parts are often obliged to meet on the very same note, by which means the unison is formed. Ex.

$\new PianoStaff << \new Staff \relative { \time 4/4 \override Score.TimeSignature #'stencil = ##f <e' g e'>2 <f g d'> <e c' c>1^"×" \bar ".." <e g e'>2 <f g b> <g g c>1_"×" \bar ".." <c, g' g'>2 <d g f'> <g e'>1 \bar ".." } \new Staff \relative { \clef bass c'2 g c1 c2 d e1 g,2 b <c c>1^"×" } >>$

The × shews where the above interval occurs.

The superfluous unison is a harsh discord, which is occasionally employed by way of what is termed a passing note.