Page:Letters to a Young Lady (Czerny).djvu/87

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

To the diminished seventh belong the minor third and the false fifth.

$\new PianoStaff << \new Staff \relative { \time 4/4 \override Score.TimeSignature #'stencil = ##f <e' g c>1 << { c'2^"×" b } \\ <fis a>1 >> <e g b> \bar ".." } \new Staff { \clef bass c2 e dis1 e } >>$

With the minor seventh we are already familiar.

To the major seventh belong the major second and the perfect fourth, to which, as a fifth part, the perfect fifth may also be added.

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

To the diminished octave are to be added the minor third and minor sixth.

$\new PianoStaff << \new Staff \relative { \time 4/4 \override Score.TimeSignature #'stencil = ##f <e' c' e>1 << { <b' d>2^"×" ~ <b d>4. <a c>8 } \\ { f2 fis } >> <gis b>1 \bar ".." } \new Staff { \clef bass c d2 dis e1 } >>$