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| Preface To the Student | |
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| Fundamentals | |
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| Elements of Pitch | |
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| The Keyboard and Octave | |
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| Registers Notation of the Staff | |
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| The Major Scale | |
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| The Major Key Signatures | |
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| Minor Scale | |
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| Minor Key Signatures | |
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| Scale Degree Names Intervals | |
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| Perfect, Major, and Minor Intervals | |
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| Augmented and Diminished Intervals | |
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| Inversion of Intervals | |
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| Consonant and Dissonant Intervals | |
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| Summary | |
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| Elements of Rhythm | |
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| Rhythm Durational Symbols | |
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| Beat and Tempo Meter | |
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| Division of the Beat | |
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| Simple Time | |
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| Signatures Compound Time Signatures | |
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| Time Signatures | |
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| Summarized More on Durational Symbols | |
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| Summary | |
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| Introduction to Triads and Seventh Chords | |
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| Introduction Triads | |
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| Seventh Chords Inversions of Chords | |
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| Inversion Symbols and Figured Bass | |
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| Lead Sheet Symbols | |
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| Recognizing Chords in Various Textures | |
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| Summary | |
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| Diatonic Chords in Major and Minor Keys | |
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| Introduction The Minor Scale | |
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| Diatonic Triads in Major Diatonic Triads in Minor Diatonic | |
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| Seventh Chords in Major Diatonic | |
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| Seventh Chords in Minor | |
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| Summary | |
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| Diatonic Triads | |
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| Principles of Voice Leading | |
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| Introduction | |
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| The Melodic Line Notating Chords | |
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| Voicing a Singe Triad Parallel Motion | |
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| Summary | |
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| Root Position Part Writing | |
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| Introduction | |
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| Root Position | |
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| Part Writing with Repeated Roots | |
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| Root Position | |
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| Part Writing with Roots a 4th (5th) | |
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| Apart Root Position | |
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| Part Writing with Roots a 3rd (6th) | |
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| Apart Root Position | |
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| Part Writing with Roots a 3rd(7th) | |
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| Apart Instrumental Ranges and Transpositions | |
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| Summary | |
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| Harmonic Progression | |
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| Introduction | |
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| Sequences and the Circle of Fifths | |
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| The I and V Chords | |
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| The II Chord | |
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| The VI Chord | |
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| The III Chord | |
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| The VII Chord | |
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| The IV Chord | |
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| Common Exceptions Differences in the Minor Mode Progressions | |
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| Involving Seventh Chords | |
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| Harmonizing a Simple Melody | |
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| Conclusion | |
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| Summary | |
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| Triads in First Inversion | |
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| Introduction Bass Arpeggiation | |
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| Substituted First Inversion Triads | |
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| Parallel Sixth Chords | |
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| Part Writing First Inversion Triads | |
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| Soprano-Bass Counterpoint | |
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| Summary | |
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| Triads in Second Inversion | |
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| Introduction Bass Arpeggiation and the Melodic Bass | |
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| The Cadential Six-Four | |
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| The Passing Six-Four | |
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| The Pedal Six-Four | |
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| Part Writing for Second Inversion Triads | |
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| Summary | |
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| Cadences, Phrases, and Periods Musical Form Cadences | |
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| Cadences and Harmonic Rhythm Motives and Phrases Mozart: 'An die Freude' Period Forms | |
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| Summary | |
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| Non Chord Tones 1 | |
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| Introduction | |
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| Classification of Non-Chord Tones | |
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| Passing Tones | |
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| Neighboring Tones | |
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| Suspensions and Retardations | |
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| Figured Bass and Lead Sheet Symbols | |
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| Embellishing a Simple Texture | |
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| Summary | |
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| Non-Chord Tones 2 | |
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| Appoggiaturas Escape Tones | |
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| The Neighbor Group Anticipations | |
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| The Pedal Point Special Problems in the Analysis of Non-Chord Tones | |
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| Summary | |
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| Diatonic Seventh Chords | |
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| The V7 Chord | |
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| Introduction | |
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| General Voice-Leading Considerations | |
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| The V7 in Root Position | |
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| The V7 in Three Parts | |
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| Other Resolutions of the V7 | |
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| The Inverted V7 Chord | |
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| The V6/5 Chord | |
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| The V4/3 Chord | |
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| The V4/2 Chord | |
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| The Approach to the Seventh | |
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| Summary | |
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| The II7 and VII7 Chords | |
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| Introduction | |
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| The II7 Chord | |
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| The VII7 Chord in Major | |
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| The VII7 Chord in Minor | |
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| Summary | |
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| Other Diatonic Seventh Chords | |
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| The IV7 Chord | |
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| The VI7 Chord | |
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| The I7 Chord | |
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| The III7 Chord | |
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| Seventh Chords and the Circle-of -Fifths Progression | |
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| Summary | |
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| Chromaticism 1 | |
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| Secondary Functions 1 | |
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| Chromaticism and Altered Chords | |
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| Secondary Functions Secondary Dominant Chords | |