txtCommentary1=To be sure, most {\uldb chords}{\v 76801} called for in the {\uldb Viennese}{\v 135870} {\uldb Classical}{\v 131766} style are {\uldb triads}{\v 102827} (containing only three {\uldb notes}{\v 89586}) whose simplest form is {\uldb closed position}{\v 137308} (played successively).\par\par\par In specifying a triad for {\uldb quartet}{\v 154839}, the composer could {\uldb double}{\v 107837} one of the {\uldb tones}{\v 100650}. This permitted important variations in color and shading. The composer could
txtCommentary2=also vary the distance between notes in a {\uldb chord}{\v 76801}. For example, the notes of the same triad could be spaced further apart, or the fifth degree of the triad could be doubled by a fourth {\uldb instrument}{\v 84565}. The differences are subtle but delicious.{\fs24\uldb \'80}{\v next}
