PrefaceUnit I: The Diatonic Triads1Keyboard Orientation2Scales and Triads3 Major and Minor Triads in Root Position4 Repeated Triads5 Roots a Fifth Apart - Tonic and Dominant6 Roots a Fifth Apart - The Primary Triads7 Roots a Second Apart8 First Inversion of Triads9 Second Inversion of the Tonic Triad10 The Leading-Tone Triad11 The Supertonic Triad12 The Submediant Triad - Roots a Third Apart13 The Mediant Triad14 Review: Melody Harmonization with TriadsUnit II: Diatonic Modulation, Nonharmonic Tones, Seventh Chords15 Extensions of the Triad Vocabulary16 Diatonic Modulation (I)17 Diatonic Modulation (II)18 Nonharmonic Tones: Passing and Neighboring Tones19 Suspension and Anticipation20 Diatonic Seventh Chords: The Dominant Seventh21 The Supertonic Seventh22 The Leading Tone Seventh23 The Subdominant Seventh24 The Submediant, Tonic, and Mediant Sevenths25 Review: Melody Harmonization with Diatonic Seventh ChordsUnit III: Chromatic Harmony26 Introduction to Secondary Dominant27 Secondary Dominants of the Dominant28 Secondary Dominants of the Subdominant29 Secondary Dominants of the Supertonic30 Secondary Dominants of the Submediant31 Borrowed Chords32 The Neapolitan Sixth; Augmented Triads33 Chromatic Modulation34 Conventional Augmented-Sixth Chords35 Review: Melody Harmonization with Altered ChordsUnit III: Advanced Chromaticism and Twentieth-Century Harmony36 Ninth Chords - Jazz Harmony37 Additional Uses of the Augmented Sixth38 Enharmonic Modulation (I)39 Enharmonic Modulation (II)40 Harmonic Sequence41 Modal Harmony42 Parallel Harmony - The Whole-Tone Scale43 Quartal Harmony44 Bichords45 Serialism - Chords with Minor Seconds46 Review and Survey of Other Harmonic TechniquesAppendix1 Symmetrical Sonorities2 Selected References to Bach Chorale Harmonizations3 The Chopin Mazurkas: A Thesaurus of Chromatic Harmony
