| Introduction |
| First Part: First Section |
| I. The Triads of the Major Scale |
| II. The Connection of the Triads of the Major Scale |
| III. Connection of Triads, showing no External agreement |
| IV. Deviations from rules governing the connection of related Triads |
| V. Harmonic Sequences |
| VI. The Harmony of the Minor Scale |
| VII. Open Position |
| VIII. The Inversions of the Triad |
| IX. The Inversions of the Diminished and Augmented Triads |
| Second Section |
| X. The Dominant Chord |
| XI. Free Voice-Leading |
| XII. The chord of the Ninth |
| XIII. Chords of the minor and diminished Seventh |
| XIV. The connection of dissonant Harmonies resolving into the tonic Triad |
| XV. Chords of sequence |
| XVI. Chords of sequence in minor |
| XVII. The Harmonization of a given melody |
| Third Section |
| XVIII. Direct Modulation |
| XIX. Transient Modulation |
| XX. Harmonization of given melodies with modulations |
| XXI. The enharmonic properties of the chord of the diminished seventh |
| XXII. The Organ-point |
| Second Part: First Section |
| XXIII. Suspensions |
| XXIV. Anticipation |
| XXV. Passing-notes |
| XXVI. Chords of the augmented Fifth |
| XXVII. Chords of the augmented Sixth |
| XXVIII. Changing-notes |
| Second Section |
| XXIX. Strict Part-writing |
| XXX. The further development of Voice-leading |
| XXXI. Harmonic figuration |
| XXXII. The free Prelude |
| XXXIII. Deviations from the laws of Harmony |
| XXXIV. Cadences (closes) |