Part One: Elements of MusicChapter 1: Pitch and Pitch ClassChapter 2: Simple MetersChapter 3: Pitch Collections, Scales, and Major KeysChapter 4: Compound MetersChapter 5: Minor Keys and the Diatonic ModesChapter 6: IntervalsChapter 7: TriadsChapter 8: Seventh ChordsChapter 9: Connecting Intervals in Note-to-Note CounterpointChapter 10: Melodic and Rhythmic Embellishment in Two-Voice CompositionPart Two: Diatonic Harmony and TonicizationChapter 11: Soprano and Bass Lines in Eighteenth-Century StyleChapter 12: The Basic Phrase in SATB StyleChapter 13: Dominant Sevenths, the Predominant Area, and Choral HarmonizationChapter 14: Expanding the Basic PhraseChapter 15: New Cadence Types and Diatonic Root ProgressionsChapter 16: Embellishing TonesChapter 17: The vii°6, vii°7, viiø7, and Other Voice-Leading ChordsChapter 18: Phrase Structure and Motivic AnalysisChapter 19: Diatonic SequencesChapter 20: Secondary Dominants and Leading-Tone Chords to VChapter 21: Tonicizing Scale Degrees Other Than VPart Three: Chromatic Harmony and FormChapter 22: Modulation to Closely Related KeysChapter 23: Binary and Ternary FormsChapter 24: Invention, Fugue, and Other Contrapuntal GenresChapter 25: VariationChapter 26: Modal MixtureChapter 27: The Neapolitan Sixth and Augmented-Sixth ChordsChapter 28: Vocal FormsChapter 29: Popular MusicChapter 30: Chromatic Harmony and Voice-LeadingChapter 31: Chromatic ModulationChapter 32: Sonata, Sonatina, and ConcertoChapter 33: Rondo, Sonata-Rondo, and Large TernaryPart Four: The Twentieth Century and BeyondChapter 34: Modes, Scales, and SetsChapter 35: Rhythm, Meter, and Form in the Early Twentieth-CenturyChapter 36: Music Analysis with SetsChapter 37: Sets and Set ClassesChapter 38: Ordered Segments, Serialism, and Twelve-Tone CompositionChapter 39: Rhythm, Meter, and Form after 1945Chapter 40: Recent Trends.