Part One: FundamentalsChapter 1: ScalesChapter 2: IntervalsChapter 3: Triads and Seventh ChordsPart Two: Overview of Harmony and Voice LeadingChapter 4: Four-Part HarmonyChapter 5: Voice LeadingChapter 6: Harmonic ProgressionChapter 7: Figuration and Embellishing TonesChapter 8: Species CounterpointPart Three: Diatonic HarmonyChapter 9: I and VChapter 10: The Dominant Seventh Chord: V7Chapter 11: I6 and V6Chapter 12: V6/5 and V4/2Chapter 13: V4/3 and vii°6Chapter 14: Approaching the Dominant: IV, ii6, and ii6/5Chapter 15: Embellishing V: Cadential6/4Chapter 16: Leading to the Tonic: IVChapter 17: The Leading-Tone Seventh Chord: vii°7 and viiø7Chapter 18: Approaching V: IV6, ii, ii7, and IV7Chapter 19: Multiple Functions: VIChapter 20: Embellishing Tones in Four-Part HarmonyChapter 21: III and VIIChapter 22: SequencesChapter 23: Other 64 chordsChapter 24: Other Embellishing ChordsPart Four: Chromatic HarmonyChapter 25: Applied Dominants of VChapter 26: Other Applied ChordsChapter 27: Modulation to the Dominant KeyChapter 28: Modulation to Closely Related KeysChapter 29: Modal MixtureChapter 30: II6: The Neapolitan SixthChapter 31: Augmented Sixth ChordsChapter 32: Other Chords: Altered, Common-Tone, Chromatic, and Ninth ChordsChapter 33: Chromatic SequencesChapter 34: Chromatic ModulationPart Five: FormChapter 35: Sentences and Other Phrase TypesChapter 36: Periods and Other Phrase PairsChapter 37: Binary FormChapter 38: Ternary and Rondo FormsChapter 39: Sonata Form.