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ing scheme of intervals is formed from the diatonic scale of C major, it can only be written in this way in all the rest of the major keys; and the key-note of the scale selected must always be taken as the root from which all the intervals must be sought for in ascending.
By way of illustration, I shall give you a similar diagram in A♭ major.
And similarly in all other major keys.
You know, Miss, that every note may be raised or depressed by means of the ♯, ♭, ♮, 𝄪, 𝄫. And as this is naturally possible also with respect to every interval, each of them admits of three, or even four different kinds; and this difference is indicated and determined by the epithets, diminished, minor (or false), major (or perfect), and superfluous, as may be seen in the following table:
