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and to the ear desirable, resolution into the perfect common chord. Ex.

$\new PianoStaff << \new Staff \relative { \time 4/4 \override Score.TimeSignature #'stencil = ##f \override Staff.Rest.style = #'classical <b' d f>2(<g c e>4) r \bar ".." } \new Staff { \clef bass \override Staff.Rest.style = #'classical g2 c'4 r } >>$

or

$\new PianoStaff << \new Staff \relative { \time 4/4 \override Score.TimeSignature #'stencil = ##f \override Staff.Rest.style = #'classical <b' f'>2 <c e>4 r \bar ".." } \new Staff { \clef bass \override Staff.Rest.style = #'classical <g d'>2 c'4 r } >>$

It has four different positions; viz.

$\new PianoStaff << \new Staff \relative { \time 4/4 \override Score.TimeSignature #'stencil = ##f <g b d f>1^\markup { \teeny { First position. } } \bar ".." <b d f g>^\markup { \teeny { Second position. } } \bar ".." <d f g b>^\markup { \teeny { Third position. } } \bar ".." <f g b d>^\markup { \teeny { Fourth position. } } \bar ".." } \new Staff { \clef bass g, g, g, g, } >>$

In all these positions, it always remains the same chord of the seventh.

In addition to this, it has also three inversions, by which three different chords originate, namely, the chord of the fifth and sixth, that of the sixth, fourth, and third, and the chord of the second.

$\new PianoStaff << \new Staff \relative { \time 4/4 \override Score.TimeSignature #'stencil = ##f <b' d f>1 \bar ".." <g d' f>^\markup { \teeny { First inversion. } } \bar ".." <g b f'> \bar ".." <g b d> \bar ".." } \new Staff { \clef bass g^\markup { \overlay { \teeny "Chord of the" \translate #'(1 . -1.5)\teeny "seventh." } } b^\markup { \overlay { \teeny "Chord of the" \translate #'(-1 . -1.5)\teeny "sixth and fifth." } } d'^\markup { \overlay { \teeny "Chord of the sixth," \translate #'(.5 . -1.5)\teeny "fourth, and third." } } f'^\markup { \overlay { \teeny "Chord of the" \translate #'(1 . -1.5)\teeny "second." } } } >>$

Page:Letters to a Young Lady (Czerny).djvu/79

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