Page:Letters to a Young Lady (Czerny).djvu/85

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To the perfect fourth may be added either the perfect fifth, or the major or minor sixth.

\new PianoStaff << \new Staff \relative { \time 4/4 \override Score.TimeSignature #'stencil = ##f <g' c e>1 << <g d'> \\ { c2^"×" b } >> <g c e>1 \bar ".." <g c e> << { <c e>2^"×" <b d> } \\ g1 >> <g c e> \bar ".." <g c es> << { <c es>2^"×" <b d> } \\ g1 >> <g c es> \bar ".." } \new Staff { \clef bass c' g c c' g c c' g c } >>

To the superfluous fourth belong the major second and major sixth, or, in lieu of the second, occasionally the minor third.

\new PianoStaff << \new Staff \relative { \time 4/4 \override Score.TimeSignature #'stencil = ##f <c' e g>1 <b e gis>^"×" <a e' a> \bar ".." <c e g> <b f'! gis>^"×" <c e a> \bar ".." } \new Staff { \clef bass c d c e d c } >>

To the diminished or false fifth is generally added the minor third and minor sixth. It then forms the chord of the sixth and fifth, which we already know.

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