Page:Letters to a Young Lady (Czerny).djvu/71

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59

\new PianoStaff << \new Staff \relative { \override Score.TimeSignature #'stencil = ##f \set Staff.extraNatural = ##f \time 2/4 c'^\markup { \teeny { Unison is twofold. } } cis \bar ".." \time 3/4 des^\markup { \teeny { Seconds threefold. } } d dis \bar ".." eses^\markup { \teeny { Thirds threefold. } } es e \bar ".." fis^\markup { \teeny { Fourths threefold. } } f fis \bar ".." ges^\markup { \teeny { Fifths threefold. } } g gis \bar ".." \time 4/4 ases^\markup { \teeny { Sixths fourfold. } } as a ais \bar ".." \time 3/4 beses^\markup { \teeny { Sevenths threefold. } } bes b \bar ".." ces^\markup { \teeny { Octaves threefold. } } c cis \bar ".." \time 2/4 des^\markup { \teeny { Ninths twofold. } } d \bar ".." } \new Staff \relative { \clef bass \override Score.TimeSignature #'stencil = ##f c'^\markup { \teeny Perfect. } c!^\markup { \teeny Superfl. } c^\markup { \teeny Minor. } c^\markup { \teeny Major. } c^\markup { \teeny Superfl. } c^\markup { \teeny Dim. } c^\markup { \teeny Minor. } c^\markup { \teeny Major. } c^\markup { \teeny Dim. } c^\markup { \teeny Per. } c^\markup { \teeny Superfl. } c^\markup { \teeny Dim. } c^\markup { \teeny Per. } c^\markup { \teeny Superfl. } c^\markup { \teeny Dim. } c^\markup { \teeny Min. } c^\markup { \teeny Maj. } c^\markup { \teeny Superfl. } c^\markup { \teeny Dim. } c^\markup { \teeny Minor. } c^\markup { \teeny Major. } c!^\markup { \teeny Dim. } c^\markup { \teeny Perf. } c!^\markup { \teeny Superfl. } c^\markup { \teeny Minor. } c^\markup { \teeny Maj. } } >>

The tenth is the same as the third.

You will observe, Miss, that many different intervals, when struck, are taken on the very same keys. For example, the superfluous second and the minor third; or the superfluous fourth and the false fifth, &c.

But, in thorough-bass, these intervals are distinguished from one another in two ways:

1st. Because each of them requires, for its

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