Page:Letters to a Young Lady (Czerny).djvu/76

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$\new PianoStaff << \new Staff \relative { \time 4/4 \override Score.TimeSignature #'stencil = ##f <e' g c>1^\markup { \teeny { Octave position. } } \bar ".." <g c e>^\markup { \teeny { Third position. } } \bar ".." <c e g>^\markup { \teeny { Fifth position. } } \bar ".." } \new Staff { \clef bass c c c } >>$

or

$\new PianoStaff << \new Staff \relative { \time 4/4 \override Score.TimeSignature #'stencil = ##f <e' c'>1^\markup { \teeny { Octave position. } } \bar ".." <g e'>^\markup { \teeny { Third position. } } \bar ".." <e' g>^\markup { \teeny { Fifth position. } } \bar ".." } \new Staff \relative { \clef bass<c g'> <c c'> <c c'> } >>$

For the different changes or duplications of the middle parts do not, in any way, change the chord.

All this also occurs in the minor mode; that is, when the minor third is taken in place of the major third.

But the perfect common chord admits also of two inversions, by which two less perfect, though still consonant chords originate.

The inversion of a chord occurs when the bass, instead of the root, takes one of the other notes of which the chord consists. For example,

$\new PianoStaff << \new Staff \relative { \time 4/4 \override Score.TimeSignature #'stencil = ##f <e' g c>1 \bar ".." <e g c>^\markup { \teeny { First inversion. } } \bar ".." <e g c>^\markup { \teeny { Second inversion. } } \bar ".." } \new Staff { \clef bass c^\markup { \teeny { Perfect common chord. } } e^\markup { \teeny { Chord of the Sixth. } } g^\markup { \overlay { \teeny "Chord of the Sixth" \translate #'(3 . -1.5)\teeny "and fourth." } } } >>$

Page:Letters to a Young Lady (Czerny).djvu/76

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