1. Musical Space and Time2. Harnessing Space and Time: Introduction to Melody and Two-Voice Counterpoint3. Musical Density: Triads, Seventh Chords and Texture4. When Harmony, Melody, and Rhythm Converge5. Tonic and Dominant as Tonal Pillars and Introduction to Voice Leading6. The Impact of Melody, Rhythm, and Meter on Harmony; Introduction to V77. Contrapuntal Expansions of Tonic and Dominant: Six-Three Chords8.

More Contrapuntal Expansions: Inversions of V7, and Leading-Tone Seventh Chords9. The Pre-Dominant Function and the Phrase Model10. Accented and Chromatic Dissonances11. Six-Four Chords, the Subdominant, and Summary of Contrapuntal Expansions12. The Pre-Dominant Refines the Phrase Model13. The Submediant: A New Diatonic Harmony, and Further Extensions of the Phrase Model14. The Mediant, the Back-Relating Dominant, and a Synthesis of Diatonic Harmonic Relationships15. The Period16.

Other Small Musical Structures: Sentences, Double Periods, and Asymmetrical Periods17. Harmonic Sequences18. Applied Chords19. Tonicization and Modulation20. Binary Form and Variations21. Modal Mixture22. Expansion of Modal Mixture Harmonies: Chromatic Modulation and the German iLied/i23. The Neapolitan Chord (bII)24.

The Augmented Sixth Chord25. Ternary Form26. Rondo27. Sonata Form28. New Harmonic Tendencies29. The Rise of Symmetrical Harmony in Tonal Music30. Melodic and Harmonic Symmetry Combine: Chromatic Sequences31. At Tonality's EdgeAppendix 1: Fundamentalsa.

The Pitch Realmb. Pulse, Rhythm, and Meterc. Intervalsd. Triads, Inversions, Figured Bass, and Harmonic Analysise. Seventh Chords and Harmonic AnalysisAppendix 2: Invertible Counterpoint, Compound Melody, and Implied HarmoniesAppendix 3: The MotiveAppendix 4: Additional Harmonic Sequence TopicsAppendix 6: Selected Answers to Textbook Exercises.