Page:Letters to a Young Lady (Czerny).djvu/73

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61

In D flat.
\new Staff \relative { \key des \major \override Score.TimeSignature #'stencil = ##f \set Staff.extraNatural = ##f \time 2/4 << { des'^\markup { \teeny Unisons } d \bar ".." \time 3/4 eses^\markup { \teeny Seconds. } es e \bar ".." feses^\markup { \teeny Thirds. } fes f \bar ".." geses^\markup { \teeny Fourths. } ges g \bar ".." ases^\markup { \teeny Fifths. } as a \bar ".." \time 4/4 beses^\markup { \teeny Sixths. } beses! bes b \bar ".." \time 3/4 ces^\markup { \teeny Sevenths. } ces! c \bar ".." deses^\markup { \teeny Octaves. } des d \bar ".." \time 2/4 eses^\markup { \teeny Ninths. } es \bar ".." } \\ { des,_\markup { \teeny Perfect. } des!_\markup { \teeny Superfluous. } des_\markup { \teeny Minor. } des_\markup { \teeny Major. } des_\markup { \teeny Superfluous. } des_\markup { \teeny Diminished. } des_\markup { \teeny Minor. } des_\markup { \teeny Major. } des_\markup { \teeny Diminished. } des_\markup { \teeny Perfect. } des_\markup { \teeny Superfluous. } des_\markup { \teeny False. } des_\markup { \teeny Perfect. } des_\markup { \teeny Superfl. } d_\markup { \teeny Dim. } des_\markup { \teeny Minor. } des_\markup { \teeny Major. } des_\markup { \teeny Superfl. } d_\markup { \teeny Dim. } des_\markup { \teeny Minor. } des_\markup { \teeny Major. } des!_\markup { \teeny Dim. } des_\markup { \teeny Per. } des!_\markup { \teeny Superfl. } des_\markup { \teeny Minor. } des_\markup { \teeny Major. } } >> }

In the last example you will observe, with regard to the diminished sixth and diminished seventh, that these two intervals in D♭ cannot be produced in any other manner than by raising the bottom note or root.

In transposing these examples, you must observe this in each key, whenever, owing to the too great number of sharps or flats, these intervals cannot be produced in any other manner.

And now, Miss, I leave it to your diligence to impress all this thoroughly on your mind, by writing it and committing it to memory; and in our next we shall occupy ourselves with the formation of chords.

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