Page:Letters to a Young Lady (Czerny).djvu/84

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72

To the superfluous second belong the superfluous fourth and the major sixth.

$\new PianoStaff << \new Staff \relative { \time 4/4 \override Score.TimeSignature #'stencil = ##f <e' g c>2 <g c e> <fis a dis>1 <e g e'> \bar ".." } \new Staff { \clef bass c'2 c' ~ c' b e1 } >>$

To the diminished third, which is a harsh discord, belong the false fifth and the diminished seventh. Ex.

$\new PianoStaff << \new Staff \relative { \time 4/4 \override Score.TimeSignature #'stencil = ##f <g' c es>1 <g bes es> <g bes d>2 <c, d fis> <bes d g>1 \bar ".." } \new Staff { \clef bass c' cis' d'2 d g1 } >>$

The minor and major third belong to the perfect common chord, as you know; and these chords we have already become acquainted with.

To the diminished fourth is to be added the doubled minor sixth.

$\new PianoStaff << \new Staff \relative { \time 4/4 \override Score.TimeSignature #'stencil = ##f r2 << { <es'' g>2 <es g>^"×" <d f> } \\ { g, g1 } >> <g c es>1 \bar ".." } \new Staff { \clef bass c' b! c' } >>$