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| The Primary Materials and Procedures | |
| Key, Scales, and Modes | |
| Intervals | |
| Rhythm and Meter | |
| Triads and Seventh Chords | |
| Introduction to Counterpoint | |
| Procedures of Four-Part Writing | |
| I-V-I and Its Elaborations | |
| I, V, and V7 | |
| I6, V6, VII6 | |
| Inversions of V7 | |
| Leadi... MORE | |
| The Cadential 6/4 | |
| VI and IV6 | |
| Supertonic and Subdominant Seventh Chords | |
| Other Uses of IV, IV6, and VI | |
| V as a Key Area | |
| III and VII | |
| 5/3, 6/3, and 6/4 Techniques | |
| 5/3-Chord Techniques | |
| Diatonic Sequences | |
| 6/3-Chord Techniques | |
| 6/4-Chord Techniques | |
| Elements of Figuration | |
| Melodic Figuration | |
| Rhythmic Figuration | |
| Dissonance and Chromaticism I | |
| Leading-Tone Seventh Chords | |
| Mixture | |
| Remaining Uses of Seventh Chords | |
| Applied V and VII | |
| Diatonic Modulation | |
| Dissonance and Chromaticism II | |
| Seventh Chords with Added Dissonance | |
| The Phrygian II (Neapolitan) | |
| Augmented Sixth Chords | |
| Other Chromatic Chords | |
| Chromatic Voice-Leading Techniques | |
| Chromaticism in Larger Contexts | |
| Keyboard Progressions | |
| Score Reduction | |
| Explanatory Tables and Charts | |
| Index of Musical Examples | |
| Subject Index | |
| Table of Contents provided by Publisher. All Rights Reserved. |