Page:Letters to a Young Lady (Czerny).djvu/66

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54

We shall now give some examples in which these chords are varied and broken into arpeggios.

\new PianoStaff << \new Staff \relative { \time 4/4 \override Staff.Rest.style = #'classical r8 e'16 g c g e g r8 f16 g b g f b r8 e,16 g c g e g c,8 r r4 \bar ".." \break \once \override Score.TimeSignature.break-visibility = ##(#f #t #t) \time 4/4 c'16 d e f g a b c b a g f e d c b c e c' g e c g e c8 r r4 \bar ".." \break \once \override Score.TimeSignature.break-visibility = ##(#f #t #t) \time 4/4 c' c8 c \afterGrace b2 \trill { a32 b } c2 c,8 r r4 \bar ".." } \new Staff \relative { \clef bass \override Staff.Rest.style = #'classical c16 g' r8 r4 d16 g r8 r4 c,16 g' r8 r4 r2 c,8[r <g' c e>] r d[r <g b f'>] r c,[r <g' c e>] r c, r r4 << { \once \override NoteHead #'duration-log = 1 c8 g' e g \once \override NoteHead #'duration-log = 1 d g f g \once \override NoteHead #'duration-log = 1 c, g' e g } \\ { c,2 d c } >> c8 r r4 } >>
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