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 CONTENTS
Preface xxix

UNIT 1 KEYBOARD BASICS 1

Keyboard Posture 2
Body 2
Wrists 2
Hands 2
Fingers 2
Eyes 3

Basic Note and Rest Values 3

Notes 3
Rests 3
Measures 3

Finger Numbers 4
Contrary Motion 4
Parallel Motion 4

The Keyboard 6
Location of White Keys 6
Registers 6
Using Black-Key Groups to Locate White Keys 7
C-D-E Groups 7
Three-Black-Key Groups 8
F-G-A-B Groups 9
Playing by Touch 10
Playing by Ear 10

Improvisation: Pentatonic
(Black-Key) Scale 10
Accompaniments 11

Notation and Notation Symbols 12

Sharp and Flat Signs 12
Half Steps 13
Natural Sign 13
Enharmonic Tones 14
Letter Names for All Twelve Tones 14
Whole Steps 15

Contents |vii

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 The Major Five-Finger Pattern 15
C Major Five-Finger Pattern 15
G Major Five-Finger Pattern 16
F Major Five-Finger Pattern 16
D Major Five-Finger Pattern 16
Ryan’s Song 17
Ode to Joy ​(Ludwig van Beethoven) 19
In Praise 20
Aura Lee ​(George Poulton) 21

Reading Notes 22
The Staff and Clefs 22
The Grand Staff 22
Naming and Playing Treble and Bass Clef Notes 24
Naming Notes and Playing Melody Patterns 24

Intervals 25
Melodic Intervals 25
Harmonic Intervals 26
Interval Studies 26
Keeping Time 27
Meter Signatures 27
Playing Five-Finger Melodies Using
the Right Hand 27
Playing Five-Finger Melodies Using
the Left Hand 29

Slur and Phrase Markings 30

Marching 30
Memories 31
Rock It! 32

Rhythmic Studies 33
Sakura Sunrise 34

Worksheet Review 35

UNIT 2 PLAYING MELODIES IN OTHER POSITIONS AND MORE KEYBOARD BASICS 39

Melodies Divided between Two Hands 39

Notation Symbols
Whole Rest 41
A Jazz Waltz ​(Phillip Keveren) 41
Tie 42
Measure Numbers 42

viii| Contents

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 Shepherd’s Song (“Pastoral” from Beethoven’s
Symphony No. 6) 42
Boogie Beat 43
Love Somebody ​(Traditional) 44
Key Signature 45
Identifying Sharp Key Signatures 45
Eighth Notes and Eighth Rests 46
Feelin’ Good 47
Pagoda 48
Waltzing 49
Morning Has Broken ​(Gaelic) 50
Little River ​(German Folk Song) 52
For the Beauty of the Earth ​(Conrad Kocher) 54

Drone Bass
Highlander Tune 56
French Canadian Round 57
Major Five-Finger Pattern Improvisation
Using a Drone Bass Accompaniment 58

Classic Miniatures 59
The Contest ​(Cornelius Gurlitt) 59
Two Etudes ​(Ferdinand Byer) 60

Repertoire 60
Surfing ​(Lee Evans) 61

Harmonization 62

Improvisation 65
Dorian Mode Improvisation 65
Dorian Accompaniment ​(Ken Iversen) 65
12-Bar Blues Improvisation 66
Start of the Blues 66
Movin’ on the White Key Blues 67
Improvisation with New Notations
and Techniques 67
It’s Up to You 68
Taking A Chance 69

Sightreading Studies 70
Adding Drone Bass Accompaniments 70
Treble Clef Melodies for the Right Hand 70
Bass Clef Melodies for the Left Hand 71
Five-Finger Pattern Studies in Major Keys 71

Rhythmic Studies 73

Technical Studies 75

Contents |ix

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 Ensembles 76
Student-Teacher Ensemble Pieces 76
Land of the Silver Birch ​(Canadian) 76
Summer Breezes 78
Lyric Piece ​(Heinrich Wohlfahrt) 79
Student Ensemble Pieces 81
Rock for Two 81
Tag Along 82
Black and White 83
Morning 84

Worksheet Review 85

UNIT 3 MORE FIVE-FINGER PATTERNS 87

Playing in Different Registers 87

Stepping Up in C 88
Stepping Down in C 88

Score Reading 89
Tempo Markings 89
More Dynamic Markings 89
Breezes Are Blowing ​(Luiseño Indian
Rain Chant) 90
Melody Study ​(Béla Bartók) 91
Accidentals 91
Persian Scene 92
Sahara 93
Monday Blues 94
Dotted Quarter Notes 95
Fiesta Time 96
Repertoire 97
Shoestring Boogie 97
Damper Pedal 98
Evening Tide 99
Upbeat and Downbeat 100
On the Town ​(Ken Iversen) 100
Slurs 101
Casey Jones ​(American) 102
Ole! 103
Parallel Motion 104
Stompin! 104

68 Time
68
Two Studies in Time
105
107
Allegretto ​( Anton Diabelli) 107
Flemish Folk Song 108

Key Signatures 108

Sharp Key Signatures 108
Flat Key Signatures 109

x| Contents

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 ♭
Key Signature Chart 110
Warm Up Study in G Major 110
The Donkey ​(American) 111
Two Etudes in A Major 113

Change of Dynamics
A Sonata Theme ​(Wolfgang Amadeus Mozart) 114
Reading Study in E Major 115
Follow Me 116
Wheels 117

Contrary Motion
Calypso Beat 118
Mysterious Corridors 119

Classic Miniatures
Minuet ​
( Alexander Reinagle) 120
Melody (Louis Köhler) 120

Repertoire
Etude in D ​(Ferdinand Beyer) 121

Improvisation 122
Heart of Space 122

Creative Music 123

Sightreading Studies 125

Melodies with Various Rhythmic Patterns 126
Different Registers and Register Changes 127
Slurred Notes 128
Staccato Notes 129
Parallel and Contrary Motion 129

Rhythmic Studies 130

Technical Studies 132

Contrary Motion 132
Fingerbuilders 132

Ensembles 133
Student-Teacher Ensemble Pieces 133
Razzle Dazzle ​(Lee Evans) 133
Merry-Go-Round ​( Arthur Foote) 135
Student Ensemble Pieces 137
Spring ​( Antonio Vivaldi) 137
Folk Song ​(French) 139

Worksheet Review 140

Contents |xi

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 UNIT 4 MAJOR AND MINOR TRIADS 143

Major Triads 143

Major Triad Groups 144

Five-Finger Studies and Triads

in Major 145
Open Fifths 148

The Minor Five-Finger Pattern 149

Relative Minor Keys 150
Erie Canal ​(William Allen) 151
Zum Gali Gali ​(Israeli) 151
Imitation and Inversion 152
Imitation and Inversion (Béla Bartók) 152

Minor Triads 153

Five-Finger Studies and Triads

in Major and Minor 153
Five-Finger Studies 154
Major-Minor-Major Chord Progression 158

Pieces Using Major and Minor Triads 160

Aaron’s Song ​(Aaron Pierick) 160
Pyramids Afar 162
Mostly Upward 163

Classic Miniatures 164

Allegro ​(Dmitri Kabalevsky) 164
Etude in A Minor ​(Ferdinand Beyer) 164

Repertoire 165
Moonlit Sea ​(Phillip Keveren) 165

Improvisation 166

Creative Music 167

Sightreading Studies 168

Rhythmic Studies 170

Technical Studies 171

Coordination Exercises 171
Canon 172

Ensembles 172
Student-Teacher Ensemble Pieces 172
La Cinquantine ​(Gabriel Marie) 172
Prelude ​
(Heinrich Wohlfahrt) 175

xii| Contents

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 Student Ensemble Pieces 177
Canon ​ (Johann Pachelbel) 177
Fanfare 179
Whistle Daughter ​(American Folksong) 181

Worksheet Review 182

UNIT 5 THE DOMINANT SEVENTH CHORD 187

Root Position: V 7 187

First Inversion 188

Block-Chord Accompaniment
with I and V 56 190
Austrian Folk Song 191

Music Chord Symbols 192

Bells of London 192

♭
Chilean Folksong 193
Studies in E Major 194

♭
English Folk Song 195
Etudes in A Major 196
German Folk Song 197

Five-Finger Melodies with Letter Name

and Roman Numeral Chord
Symbols for I for V 65 Chords 197
Folk Song ​(German) 197
South American Folk Song 198
German Tune 198
Swedish Folk Song 198
Hey Lidee ​(American) 199

Classic Miniatures 199

Moving Along ​(Cornelius Gurlitt) 199
March ​(Daniel Gottlob Türk) 200

Repertoire 201
Vivace ​
(Cornelius Gurlitt) 201

Improvisation 202
Pentatonic Improvisation 202
Japanese Gardens 203
Little River Call 204
Sapporo Sunset 205

Creative Music and Harmonization 205

i and V 56 Chords in Minor 205

Contents |xiii

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 Sightreading Studies 206
I and V 56 Chords in Major 207
i and V 56 Chords in Minor 208

Rhythmic Studies 210

Technical Studies 211

Ensembles
Student-Teacher Ensemble Pieces 212
Waltz (Heinrich Wohlfahrt) 212
Joyful Day ​(Joseph Löw) 214
Student Ensemble Pieces 216
Drink to Me Only with Thine Eyes ​(English) 216
Amazing Grace ​(traditional) 217

Worksheet Review 219

UNIT 6 THE SUBDOMINANT CHORD AND CHANGING FIVE-FINGER POSITIONS 221

The Subdominant Chord 221

Root Position: The IV 46 Inversion 221

Cadences 226
Authentic Cadence 226
Plagal Cadence 226

Pieces with I–IV 46 –V 65

Accompaniments 227
Banks of the Ohio ​(American) 227
Beautiful Brown Eyes ​(Traditional) 228
French Folk Song 228
Jingle Bells ​(J. S. Pierpont) 229
Shall We Gather at the River ​(Robert Lowry) 230
When the Saints Go Marchin’ In ​(Traditional) 231

Composite Meter 232

Festive Dance 233

♭
Exploring D Major 234
Two Studies 234
Gentle Rain 235
Melody from Op. 39 ​(Dmitri Kabalevsky) 236

♭
Exploring B Major 237
Calisthenic Studies 237
This Land Is Your Land ​(Woody Guthrie) 238

xiv| Contents

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 Exploring B Major 240
Studies in B Major 240
Zulu Farewell Song 241

Five-Finger Melodies with Letter-Name

and Roman Numeral Chord
Symbols for I, IV 46, and V 65
Chord Accompaniments 242
Christmas Day Is Come ​(Traditional Irish Carol) 242
Alleluia ​( Traditional) 242
Git Along, Little Dogies ​(Cowboy Song) 243

Changing Five-Finger Positions 243

Study ​(Béla Bartók) 245
Steamroller Rock 247
Belly-Button Blues 248
Time-Clock Blues 249
Round-the-Corner Boogie 250

Classic Miniatures 251

Moving Around ​(Dmitri Kabalevsky) 251
Dance ​(Dmitri Kabalevsky) 251

Repertoire 252
A Little Joke ​(Dmitri Kabalevsky) 252

Improvisation 253
12-Bar Blues 253
12-Bar Blues Pattern 253
Starting the Blues 253
Walkin’ Through Blues 255
Blue Note 255
Blue-Note Blues 256
Blues Beat 257
Rockin’ Blues 258
I–IV–V Chords in All Major Keys 259

Creative Music and Harmonization 260

I, IV 46, and V 65 Chords in Major 260

Sightreading Studies 261

I,IV 46, V 65
and Chords 262
Change of Five-Finger Position 264

Rhythmic Studies 265

Technical Studies 266

Contents |xv

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 Ensembles 268
Student-Teacher Ensemble Pieces 268
Scherzo from Melodious Pieces,
Op. 149, No. 6 ​
( Anton Diabelli) 268
Rumba ​(Gerard Hengeveld) 270
Student Ensemble Pieces 274
Alouette ​(French) 274
Quand J’etais Chez Mon Pere ​(French) 276

Worksheet Review 277

UNIT 7 MAJOR SCALES AND EASY PIECES WITH BLOCK-CHORD ACCOMPANIMENTS 279

Major Scales 279

Major Scales in Tetrachord Position 280

Sharp Keys 281
Flat Keys 283

Major Scales with Fingerings

for Both Hands Together 285
Major Scales and Fingerings 286

Scale Studies in Clusters 290

Triads on Major-Scale Degrees 292

Intervals of a Sixth, Seventh,

and Eighth (Octave) 293

Extending the Five-Finger Position 294

Moving Along ​(Cornelius Gurlitt) 295
The Strawberry Roan ​(Cowboy Song) 296
Simple Gifts ​(Shaker Hymn) 297
Michael, Row the Boat Ashore ​(Spiritual) 298
Kum Ba Ya ​(Traditional) 299
Mary Ann ​(Calypso Song) 300

Sixteenth Notes and Sixteenth Rests 301

Keep in the Middle of the Road ​
(African American Spiritual) 302
The Galway Piper ​(Irish) 303

The Dotted Eighth Note 303

Oh! Susanna ​(Stephen Foster) 305
Round and Round ​(John Hilton) 306
Scale Study ​(Carl Czerny) 307
A Little Scale ​(Daniel Gottlob Türk) 308

Musical Forms: AB and ABA 308

Mexican Hat Dance ​(Traditional) 309
Irish Washerwoman ​(Irish) 311

xvi| Contents

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 Melodies with Letter-Name Chord
Symbols for I, IV 46, and V 65 Chords 312
When I Come Back ​(German) 312
La Cucaracha ​(Mexican) 312
Rock of Ages ​(Thomas Hastings) 313
A Christmas Carol ​(Bohemian) 313
Nobody Knows the Trouble I’ve Seen ​(Spiritual) 313

Classic Miniatures 314

Teasing ​(Daniel Gottlob Türk) 314
German Dance, No. 2 ​(Joseph Haydn) 314

Repertoire 315
German Dance ​(Ludwig van Beethoven) 315

Improvisation 316
Pentatonic Improvisation 316
Bagpiper’s Strut 317

Creative Music and Harmonization 318

Sightreading Studies 320

Melodies in Parallel Motion 320
Accompanied Melodies 322

Rhythmic Studies 324

Technical Studies 325

Five-Finger Exercise ​(Charles-Louis Hanon) 325

Ensembles 327
Student-Teacher Ensemble Pieces 327
Sunset ​(Dennis Alexander) 327
Calico Rag ​(Dennis Alexander) 329
Student Ensemble Pieces 331
Lullaby ​(Louis Köhler) 331
She’ ll Be Comin’ Round the Mountain 332

Worksheet Review 333

UNIT 8 EASY PIECES USING VARIOUS ACCOMPANIMENT PATTERNS 337

Broken-Chord Accompaniment Patterns 337

Frankie and Johnny ​(Traditional) 339
Vive La Compagnie ​(French) 341

Waltz Pattern 342

Du, Du Liegst Mir im Herzen ​(German) 342
My Hat, It Has Three Corners ​(German) 343

Contents |xvii

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 Arpeggio Accompaniment Patterns 344
On Top of Old Smoky ​(Traditional) 346
Barcarolle ​(Jacques Offenbach) 347
Gaîté Parisienne ​(Jacques Offenbach) 348

Alberti Bass 348

Ah, Vous Dirai-Je, Maman?
(Ah, Shall I Tell You, Mama?) ​(French) 349

Syncopation 350
Etudes in Syncopated Rhythm 350
Apple Street Rag 351
The Entertainer ​(Scott Joplin) 352

The Damper Pedal 354

Direct Pedaling 354
Pedal Studies 354
The Highlands 355
Lady Moon ​(Lynn Freeman Olson) 356

Other Accompaniment Patterns 357

Ostinato Accompaniment 357
He’s Got the Whole World In His Hands ​(Spiritual) 357
Drum Roll Accompaniment 358
Battle Hymn of the Republic ​(William Steffe) 358

Classic Miniatures 360

Scotch Dance ​(Friedrich Kuhlau) 360
A Little Rondo ​(Daniel Gottlob Türk) 361

Repertoire 362
Écossaise in C Major ​(Franz Schubert) 362

Improvisation 363
Pentatonic Improvisation 363
Goin’ West 364
Tango Improvisation 365
Tango Dream ​(Jeff Kowalkowski) 365

Creative Music and Harmonization 366

Sightreading Studies 368
Rhythmic Studies 370
Technical Studies 371
Fingerbuilder Exercise ​(Friedrich Wieck) 371
Finger-Strengthening Exercise ​(Franz Liszt) 371

Ensembles 372
Student-Teacher Ensemble Pieces 372

xviii| Contents

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 Rondeau, from First suite, first movement ​
(Jean Joseph Mouret) 372
Casey Jones ​(American Railroad Ballad) 374
Student Ensemble Pieces 378
Hello, Ma’ Baby ​(Joseph E. Howard/
Ida Emerson) 378
Missa Ramgoat ​(Jamaican Folk Song) 380

Worksheet Review 382

UNIT 9 SECONDARY CHORDS AND CHORD INVERSIONS OF TRIADS AND SEVENTH CHORDS 385

Secondary Chords 385

The ii Chord (Supertonic) 385
The iii Chord (Mediant) 386
The vi Chord (Submediant) 387
Every Night When the Sun Goes Down ​
(American) 389
Stars of the Heavens ​(Las estrellitas del
cielo; Mexican Folksong) 390
Ships Ahoy 391
Oregano Rock 392

Repertoire 393
Scherzo (from 24 Pieces for Children,
Op. 39, No. 12) ​(Dmitri Kabalevsky) 393

Intervals within the Scale 394

Melodic Lines with Intervals 396

Seconds 396
The Chase ​(Stan Applebaum) 396
Thirds 398
Carol of the Drums (“The Little Drummer
Boy”) ​(Katherine K. Davis) 398
Thirds and Fourths 400
Saturday Smile ​(Lynn Freeman Olson) 400

Repertoire 401
Perpetual Motion ​(Elyse Mach) 401

Chord Inversions 402

Chord Inversions: Blocked and Arpeggiated 403
Root Position 403
First Inversion 403
Second Inversion 403
Root Position 404
Steeplechase ​ (Cornelius Gurlitt) 406
Triads on the Run 407

Contents |xix

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 Repertoire 408
Hunting Horns ​(Theodore Oesten) 408

The Damper Pedal (Indirect Pedaling) 409

Pedal Studies 409
Big Ben 410
Twilight ​
(Lynn Freeman Olson) 410

Hymn Style 412

In Church ​(Jane Smisor Bastien) 412
Prelude ​
(Ludvig Schytte) 414

Augmented and Diminished Triads 415

Theme from Symphony No. 9
(“From the New World”) ​(Antonin Dvořák) 416
A New Fanfare 417

Classic Miniatures 418

Study, Op. 101, No. 62 ​(Ferdinand Beyer) 418
Dance, Op. 108, No. 1 ​(Ludvig Schytte) 418

Repertoire 419
Etude ​(Cornelius Gurlitt) 419

Improvisation 420
12-Bar Blues Improvisation 420
Step Along Blues 420
Scaling the Blues 421
Boogie-Woogie Blues 422
Ostinato Accompaniment Patterns 424
Over Easy Blues 426
Step Around Blues 427
Blues Scale 428
Up and Down Blues 428
Conversational Blues 429

Creative Music and Harmonization 430

Sightreading Studies 433

Accompanied Melodies 433
Pedal Studies 435

Rhythmic Studies 437

Technical Studies 439

Finger-Extension Study ​(Charles-Louis Hanon) 439
Czerny Fingerbuilder Exercises ​(Carl Czerny) 440
Inversion Studies 441
Repeated-Note Studies 442

xx| Contents

9780199326204_Mach_TxT.indb 20 5/27/15 9:24 AM

 Ensembles 443
Student-Teacher Ensemble Pieces 443
Tranquility from On the Green Meadow ​
(Alexander Gretchaninov) 443
Knock About ​(Ken Iversen) 446
Student Ensemble Pieces 448
Au Clair de la Lune ​(French) 448
Courante ​(Elsie Wells) 450

Worksheet Review 452

UNIT 10 MINOR SCALES AND OTHER SCALE FORMS 455

Minor Scales 455

Relative Major and Relative Minor Scales 455
Natural Minor Scale 456
Harmonic Minor Scale 456
Melodic Minor Scale 456

Minor Key Signatures 457

Relative Key Signatures 457

Natural Minor Scales in

Tetrachord Positions 458
Sharp Keys 458
Flat Keys 460

Harmonic Minor Scales 462

Harmonic Minor Scales and Fingerings 462

i–iv 46 –I–V 65 –i Chord Progression 466

Volga Boatman ​(Russian) 467
Joshua Fought the Battle of Jericho ​
(Spiritual) 468
Hatikvah ​(Israeli) 468
A Sea Shantey 469
Moroccan Caravan 470
Greensleeves ​(English) 471
Dark Eyes ​(Russian) 472
Marche Slav ​(Peter Ilyich Tchaikovsky) 473

Repertoire 474
Etude in A Minor ​(Cornelius Gurlitt) 474

Parallel Major and Minor Scales 475

Scaling Pyramids 476
Venetian Waltz 477

Contents |xxi

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 Repertoire 478
Etude ​(Ludvig Schytte) 478

Other Scale Forms (Modes) 479

Sakura ​(Japanese) 480
Aeolian Lullaby ​(Joan Hansen) 481
Scarborough Fair ​(English) 482
High Noon 483
Spanish Folk Melody 484
Lydian March ​(David Duke) 485
Sharp Four ​(Arthur Frackenpohl) 486

Repertoire 488
Shepherd Pipes
(​ Tat’iana Salutrinskaya) 488

The Chromatic Scale

The Chromatic Scale 490
Chromatic Blues 491
Navy Blues 492

Repertoire 493
Chromatizone Rag ​(Ann Collins) 493

Classic Miniatures 495

Etude, Op. 190, No. 31 ​
(Louis Köhler) 495
The Village Prophet ​(Jean-Jacques Rousseau) 495

Improvisation 496
Melody Improvisation Using Chord Voices
of a Piece 496
Rocker ​(Jeff Kowalkowski) 496

Creative Music and Harmonization 497

Sharp Four ​(Arthur Frackenpohl) 500

Sightreading Studies 501

Technical Studies 506

Finger-Extension Exercise ​
(Charles-Louis Hanon) 506
Major-Minor Scale Study, Op. 261, No. 50 ​
(Carl Czerny) 507

Ensembles 508
Student-Teacher Ensemble Pieces 508

xxii| Contents

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 Dance of the Sugar Plum Fairy
from The Nutcracker Suite ​
(Peter Ilyich Tchaikovsky) 508
Student Ensemble Piece 510
Sugarloaf Mountain ​(Everett Stevens) 510
Galop ​
(Elsie Wells) 513

Worksheet Review 515

UNIT 11 TONALITY AND ATONALITY: EXPLORING TWENTIETH- AND

TWENTY-FIRST-CENTURY MUSIC STYLES 519

Jazz 520
Hallelujah! ​(Martha Mier) 520

The Whole-Tone Scale 522

Morning Mist 522
Name That Tune 523

Bitonality 524
Pomp ​( Vincent Persichetti) 524
Two Tone ​(Joan Hansen) 526

Atonality 526
Barcarolle ​(Ross Lee Finney) 527

Innovative Notations 528

5-White-Note Clusters ​(Ross Lee Finney) 528
Seashore ​(Ross Lee Finney) 529
Winter ​
(Ross Lee Finney) 530

Quartal Harmony 531

The Cathedral in the Snow ​(David Duke) 531

Classic Miniatures 533

Jumping Jacks (Op. 146, No. 5) ​
(Dianne Goolkasian Rahbee) 533
Invention for Piano ​(Emma Lou Diemer) 534

Repertoire 535
Shades of Blue ​(Robert Starer) 535

Bitonal Improvisation 537

Pattern Improvisation (Jeff Kowalkowski) 538

Contents |xxiii

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 Ensembles 539
Student Ensemble Pieces 539
For the Kid Next Door ​
(Soulima Stravinsky) 539
Folk Dance ​(Dianne Goolkasian Rahbee) 541

Worksheet Review 545

UNIT 12 MELODIES WITH LETTER-NAME CHORD SYMBOLS AND MELODIES

WITH ROMAN NUMERAL CHORD SYMBOLS 547

Melodies with Roman Numeral Chord Symbols 547

Letter Names of I, IV, and V 7 Chords 547

Melodies with Letter-Name

Chord Symbols 548
New River Train ​(American) 549
Lavender’s Blue ​(Old English Folk Song) 549
Long, Long Ago ​(Thomas H. Bayly) 550
Hush, Little Baby ​(American) 550
William Tell Overture ​(Gioacchino Rossini) 551

Melodies with Roman Numeral

Chord Symbols 551
Over the Waves ​(Traditional) 551
Aloha Oe ​(Queen Liliuokalani of Hawaii) 552
Dona Nobis Pacem ​(Traditional) 552
The Washington Post March ​
(John Philip Sousa) 553
Camptown Races ​(Stephen Foster) 553

Melodies with Letter-name Chord

Symbols That Include
Secondary Chords ii, iii, and vi,
and Augmented and
Diminished Chords 554
Jacob’s Ladder ​(Spiritual) 554
Streets of Laredo ​(American Cowboy Tune) 555
Saint Anthony Chorale ​(Joseph Haydn) 555
Take Me Out to the Ball Game ​
(Albert von Tilzer/Jack Norworth) 556

Melodies with Roman Numeral Chord

Symbols That Include
Secondary Chords ii, iii, and vi,
and Augmented and
Diminished Chords 557
All Through the Night ​(Welsh) 557

xxiv| Contents

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For the English giant had done well. Like a great and redoubtable
captain—and some there were to believe that this product of a
barbarous land was the first of his age—he had seized the hour
when panic had descended upon the Castilian host. When they were
as sheep without a shepherd, owing to their belief that the Prince of
Darkness had spirited away the father of the flock, he had fallen
upon them under the cover of night. He had dealt with them
ruthlessly, killing many, despoiling their treasuries, abusing their
arms, pursuing them off the plains full many a league, and dispersing
a proud army to the four winds of God.
All this had the Englishman performed under the cover of night, at
the instance of no more than two hundred well-mounted men. So
had their fears at the mysterious loss of their king wrought upon the
soldiers of the army of Castile that they had fled hot-foot in all
directions before the onfall of Sir Richard Pendragon. For they were
fain to believe that the Prince of Darkness had returned to claim
them as well as their royal master.
In the very act of pursuit the Englishman had indulged his masterful
skill to the full. He had singled out those of our foes it would profit
him best to destroy. He had cut down all of the King’s captains and
ministers he could come at, overriding them full many a league, yet
sparing nine of the foremost in order that their presence in captivity
might pleasure our mistress and promote the terms of the peace.
In this also Sir Richard Pendragon had counted well. The presence
of these nine noble Castilians with halters about their necks gave
credence to the wonderful story that he had to tell. When his great
exploit had been unfolded in its fulness, it appeared that the power of
Castile was broken. And when madam understood so much, and
further, that her great captain had not only delivered her of famine
and the sword, but had also returned with great loot of treasure, she
said with a proud yet gentle instancy that her good Sirrah Red
Dragon might command her anything.
Now, in the fire of that imperious yet chaste and lovely glance the
Count of Nullepart and myself read the invitation for which our veins
were hungry. Yet I think it must be allowed to the Count of Nullepart
that he had the gift of prophecy. For as the Countess Sylvia again
extended her slender fingers that were all lily-white daintiness, the
English barbarian robber, as he bore them to his bearded chops in
his bloodstained gripe, caused the very roof to re-echo with his
laughter.
“By my good mother’s soul!” he roared, “if it were not that old honest
Dickon durst not marry out of the English nobility, sweet madam and
ladyship, you might easily have the best husband in Spain.”
Again the eyes of the Countess Sylvia sparkled like the beautiful
Tagus.
“What words are these, Sirrah Red Dragon?” said she with a proud
instancy. “Do you reject the gracious dignity of a woman’s heart? Is
it, Sirrah Red Dragon, that you disdain the royal gratitude of an
hundred descents?”
“It is that I neither disdain nor reject them, madam,” said the English
giant, speaking as though his soul was an empire, yet with a
whimsical humour in his great red eyes. “But this old jack bully must
reck his rede, as we English say. He can never marry, good madam
and ladyship, although there is the blood of kings under his doublet.
He must reck his rede. He is the offspring of fantasy; he was born in
a mild and sweet season under the bright moon. He is of the seed of
Merlin; the sap of Arthur is in his bones; and although he had a good
mother, and he is the natural son of Henry Plantagenet, yet from his
natal hour a bend sinister hath twisted his sweet soul. Therefore he
can wed no woman, dear little Spanish butterfly, for, let me whisper it
in thy pretty ears, that good Dickon, honest fellow, is none other than
the veritable Solpesius Mus, the Captain-General of the Jogalones.”
Having thus spoke our mistress in this strange mad wise, the English
giant, for all the world as though his soul was a wide dominion, bent
to her his grinning visage and bussed her soundly upon the lips in
the presence of the whole company. No sooner had she suffered this
bold caress than she withdrew her face swiftly, as though it had been
stung by the venom of bees. Her cheek was like a crimson flower
and her eyes brimmed with their passionate tears.
“Sirrah giant,” said this delectable thing, as if she too had a wide
dominion in her soul, “I would have the whole of thee, the whole of
thy great capacity and thy wide-wingèd fantasy, or I would have thee
not at all.”
“Alack, alack!” said the Englishman with a whimsical sigh, “that poor
Dickon, old honest fellow, should be none other than the veritable
Solpesius Mus, the Captain-General of the Jogalones!”
And in my ears came the soft enchanting laughter of the worshipful
Count of Nullepart.
 CHAPTER XXXVII
OF THE RIGOURS TO BE SUFFERED BY THE
INFAMOUS KING

The proud tears were still in the eyes of our mistress, when she
looked all about her swiftly with the features of a hawk. In ringing
tones she cried, “Bring forth the spawn of darkness. We will now
arrange his fate.”
When the Count of Nullepart and myself made to obey this
command, as you will believe, gentle reader, we had grave concern
lest madam should observe the presence of the captive’s ears. And
such was her present humour that I think we did well to have
apprehension of the penalty that might overtake us. Greatly doubtful,
we led forth the Castilian from his durance and brought him into the
room.
The King of Castile entered the presence of his victorious
adversaries with a calm and noble smile. Yet no sooner did his gaze
fall upon the grey-bearded noblemen with halters about their necks
than his eyes drooped, and a great anguish seemed to cloud them.
The relentless eyes of madam were fixed upon her foe.
“Dost thou see them, bloody-minded one?” said she. “These old
bears shall have the fangs drawn out of their chaps so that they shall
bite no more.”
Then, like a veritable sovereign princess, she turned to Sir Richard
Pendragon, to whom all the success of her arms was due.
“Avise us, Sirrah Red Dragon. Avise us in what manner we shall cast
out these several parcels of beastliness that encumber the earth.”
“By our lady!” said the English giant, rubbing the palm of one hand
slowly round that of the other, “if that is not my honest gossip, John
Castilian, I am a poor mad soul! English Richard gives a greeting to
you, John Castilian, a greeting to your most excellent King’s
majesty.”
Upon this speaking, Sir Richard Pendragon was like to crack his
head on the ground with his lowly obeisance.
Although the King of Castile seemed all broken by the disaster that
had overtaken his arms, upon hearing the voice of Sir Richard
Pendragon he looked up and received his mockery with an
unflinching glance.
“Foreign robber,” he said simply, “you have borne yourself as a true
captain. I make you my service. And as the life of myself and the
lives of my honourable friends are forfeit to your cunning I hope that
they may profit you.”
These words, spoken only as a King could deliver them, brought a
sort of whimsical pity to the mocking face of the English barbarian.
“Dost thou remember, John Castilian,” he said, with that softness
which the Count of Nullepart and I knew was wont to accompany his
most ferocious designs, “that summer’s morning a twelvemonth
since, when thou flungest one of a gentle and kindly nurture, a good
mother’s son, into the deepest dungeon of your Spanish palace, and
chained him by the leg, with foul straws for his pillow, and with lean
rats and large beetles for his only familiar company?”
“Yes, foreign robber, I remember it to my sorrow,” said the King of
Castile coldly. “And had I broke you upon the wheel and thrown your
corpse to the dogs a day before my reckoning, I should not now be
mourning for not having done so.”
“John Castilian,” said the Englishman, “you speak in the wise of an
unfortunate famous ancestor of mine own. He was called Sir
Procrastinatus, owing to the unlucky habit of his mind that he
continually put off till the morrow that which he should have done the
day; a habit that in the process of nature grew upon the unlucky
wight in such a measure that upon the last day of his life he failed to
die until after his friends had buried him. Can it be, John Castilian,
that yourself is a victim to a like preoccupancy? For I understand
from madam’s gracious ladyship that your trench hath been dug the
last three days in the kitchen midden.”
“No, no, Sirrah Red Dragon, that is not so,” said madam ruthlessly.
“The spawn of darkness is entitled to no burial. We will hang it upon
a fork on the outer barbican to poison the crows and the vultures and
the unclean fowls of the air.”
“A thousand pardons, ladyship,” said Sir Richard Pendragon. “It
appears I am the victim of a misinformation.”
“Do you avise us, Sirrah Red Dragon, so that the bloody-minded
prince shall begin his dying immediately. But we would have him
take not less than one-and-twenty days to the consummation of it,
for we would have him drain the dregs of the cup he hath prepared
for others.”
It was here, however, that Sir Richard Pendragon began to stroke his
beard. Mad he was, and whimsical, yet beyond all things he had a
mind for affairs. Therefore he was fain to speak aside with the Count
of Nullepart and myself.
“By my troth,” he said, “it would be a happy deliverance of a bad man
if John Castilian was hung on the gate with a spike through his neck.
But grievously do I doubt me of the wisdom of the policy. We are but
three hundred men-at-arms, and Castile is a broad dominion. If we
put out the life of this prince, the queen-mother will gather new
forces and come again to the gate. And honest Dickon is fain to
observe that the old bitch wolf will be found with a longer tooth than
the whelp.”
That this was the voice of wisdom we had no thought to deny.
Therefore it behoved us to spread the light of statecraft before our
mistress. Yet, as you will readily believe, such a task was no light
one. Still, accomplished it must be, although he who would turn a
woman aside from her vengeance may be said to take his life in his
hand.
Sir Richard Pendragon, however, was the last man in the world to
blench before the face of danger. And so, with a most humble civility
that rendered the sinister laughter of his eyes the more formidable,
he addressed the Countess Sylvia.
“Madam,” said he, “was old honest Dickon dreaming o’ nights when
he heard the grace of your ladyship’s nobility declare that he might
command her anything?”
The fair damask cheek of our mistress grew again like that of a
carnation; again were her eyes filled with proud shining.
“You heard aright, Sirrah Red Dragon,” she said softly. “It is my
desire that you command me anything.”
“Then old honest Dickon, a good fellow, kisses your small feet and
makes you a leg, peerless rose of the south, and he asks for the life
of John Castilian.”
The bosom of our mistress heaved rebelliously. Tears of mortified
caprice crept into her eyes. With contempt and bitterness she cast a
glance at the King, who stood in mournful converse with his
ministers. She then confronted her great captain.
“Sirrah Red Dragon,” she said in accents that were choked by a rage
of tears, “do you take the life of the spawn of darkness. Use it as you
will, sirrah. It was you that gave it to me; it is meet that you should
receive it back again. I do not ask upon what pretext you would hold
it; but—but, sirrah,” and her whole form quivered strangely, “I do ask
—I do ask, sirrah, is this the whole of your good pleasure?”
Yet no sooner had she spoke those last unlucky words, and, as it
were, laid bare her proud bosom, than she averted her beautiful
cheeks that were like a scarlet rose, and in the sudden wild rage of
her own weakness, that she whom kings must woo in vain had come
herself to woo, she hid her eyes.
“Nay, by the soul of a nice mother,” said Sir Richard Pendragon, “this
is but a moiety of what her good son would ask you. Having received
the life of John Castilian, he would ask your permission, madam, that
in some sort he may punish him, for you need not to be told that his
crimes are many and abominable.”
“As you say, Sirrah Red Dragon, his crimes are many and
abominable,” said the Countess Sylvia. “I would indeed have you
punish him. I would have you punish him with all possible rigour.”
Speaking thus, she gazed at the unfortunate prince with a power of
resentment that he, who was true to his degree, met with a calm
indifferency.
“All possible rigour,” said Sir Richard Pendragon softly, “is indeed the
best part of the design of your old honest servant. And to that end,
madam, I would ask to deliver John Castilian to you again in order
that you may bestow this dreadful rigor upon him.”
“It is well, Sirrah Red Dragon,” said his mistress. “In this you are
wise. We shall know in what sort to visit the spawn of darkness and
bloody-minded prince.”
“And yet, madam,” said Sir Richard Pendragon, “by the grace of your
ladyship is it not left to old honest Dickon to nominate the weapons
of your severity?”
“Pray do so, Sirrah Red Dragon,” said madam with a courteous
indulgence. “But perhaps you will not omit to weigh the efficacy upon
delicate flesh of hot sharp-pointed nails? And also of hard pieces of
rock upon the sensitive limb bones?”
“Nay, madam,” said Sir Richard Pendragon, “a good mother’s son
forgets not the efficacy of these honest things; yet, under the favour
of your ladyship, if he is minded to speak out of his ripe observation,
this elderly seeker after virtue would venture to recommend an even
more dreadful rigour, a rigour even more salutary.”
“By every manner of means, Sirrah Red Dragon, I would have you
recommend it.”
As the Countess Sylvia spoke she fixed another remorseless glance
upon the unhappy prince.
“That which one who is old, madam,” said the English giant in his
softest voice, “and one who hath been accustomed all his years to
grope for the light of the truth is fain to recommend to the grace of
your ladyship, is the most excessive rigour known to mankind; a
greater rigour which contains all the lesser rigours within itself; a
rigour which poor unlucky manhood, be it that of prince or of
peasant, is wont to regard with the same abhorrence as a sea-coal
fire is regarded by a gib cat with a singed tail. The barbarous and
excessive rigour to which your old honest servant refers, madam, is
that which is profanely called holy matrimony. English Dickon humbly
submits, madam, that you should receive John Castilian in the bonds
of wedlock, and so visit the royal rascal according to his merit.”
Upon the enunciation of this project, which had only been possible to
one of Sir Richard Pendragon’s surpassing boldness, the Count of
Nullepart and myself had a lively fear that madam would drive her
poinard into the heart of her over-presumptuous captain. For when
he spoke in this wise her slender fingers trembled on the jewelled hilt
of her dagger, and she cried out with flaming eyes,—
“Wed the spawn of darkness, sirrah! Wed the bloody-minded prince!”
“Even so, madam,” said the English giant, withdrawing a pace from
her striking hand. “Under your gracious favour, that is the rigour that
is humbly proposed by one who hath grown old in the love of virtue.”
As the Englishman spoke, a change was wrought in the demeanour
of the Countess Sylvia. Like a very woman or a small child, or
perchance like them both (for the worshipful Count of Nullepart
assures me that they are one and the same), she peered into the
eyes of her captain. And the manner of this action, which was one of
a furtive modesty, seemed to imply that she dared hardly to look lest
she should discover that which she feared to see.
“Wed the spawn of darkness!” she breathed softly. “I—I, Sirrah Red
Dragon—I wed the froward prince!”
She continued to repeat these words in a low voice. Yet ever and
anon she peered upwards to the red and hungry eyes of her great
captain, that were full of a sombre and whimsical phantasy. And to
the worshipful Count of Nullepart and to myself, who hung upon
each phase of that which was toward, it seemed to us both, in the
curious anguish of our hearts, that the lifeblood of the little Countess
Sylvia ebbed away from her even as she gazed.
 CHAPTER XXXVIII
THE LAST

I know not how long it was before the eyes of our mistress recoiled
from that humorous front with which her great captain met the whole
assembly. With her, I fear it must have been an age. Yet at last her
gaze, that was now hapless, faltered altogether, and, like a proud-
wingèd bird with its plumage torn, it fell to earth.
At the same instant this delectable form was shaken bitterly. And
then our mistress looked up, and with eyes that shone no more like
the Tagus, and with cheeks ashen white instead of the rosy carmine
of a fair flower, she said with a most beautiful gentleness,—
“An it please you, Sirrah Red Dragon, I—I will wed the froward
prince.”
Without permitting her unhappiness to stray away to him to whom
this resolve was published, she summoned to her side the royal
captive with an air that was ineffable.
The King, who was only too well acquainted with all that had passed,
for it was of the highest significance to Castile and to himself, came
forward at his youthful cousin’s behest.
“Froward prince,” said the Countess Sylvia, speaking with a sweet
broken gentleness which yet seemed to proclaim a wide dominion of
the soul, “your crime is forgot. The halters are taken from the throats
of your ministers. Your treasuries are given back to you; and with
them is given my good pleasure.”
With a cheek the colour of snow, our mistress held forth her slender
jewelled fingers to him of Castile. Yet at first the King made no sign,
perhaps for bewilderment or perhaps for shame. And then, slowly
and modestly, with a humility in all his gestures, with a pure and
noble fire in his eyes, he knelt before her and bowed his head.
THE END
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defective work may elect to provide a replacement copy in lieu
of a refund. If you received the work electronically, the person or
entity providing it to you may choose to give you a second
opportunity to receive the work electronically in lieu of a refund.
If the second copy is also defective, you may demand a refund
in writing without further opportunities to fix the problem.

1.F.4. Except for the limited right of replacement or refund set

forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’,
WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS