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- Introduction
- First Year Harmony
- Chapter 1, Preliminary
- Chapter 2, Triads And Progressions
- Chapter 3, Cadences And Simple Harmony
- Chapter 4, First Inversions Of Triads
- Chapter 5, Second Inversions Of Triads
- Chapter 6, Unaccented Passing Notes
- Chapter 7, The Dominant Seventh
- Chapter 8, The Mediant Triad
- Chapter 9, Accented Passing Notes
- Chapter 10, Suspensions
- Chapter 11, The Melodic Minor Scale
- Chapter 12, Elementary Modulation
- Chapter 13, Auxiliary Notes
- Chapter 14, Three-Part Work
- Chapter 15, Some Points Of Style
- Second Year Harmony
- Chapter 1, Further Use Of The Unessential (I)
- Chapter 2, More Advanced Modulation
- Chapter 3, Writing Modulating Passages
- Chapter 4, String Writing & Points Of Style
- Chapter 5, Further Use Of The Unessential (II)
- Chapter 6, Diminished & Augmented Triads
- Chapter 7, Secondary Sevenths (I)
- Chapter 8, Secondary Sevenths (II)
- Chapter 9, Secondary Sevenths (III)
- Chapter 10, Secondary Sevenths (IV)
- Chapter 11, Elliptical Resolutions
- Chapter 12, Chromatic Harmony (I)
- Chapter 13, Chromatic Harmony (II)
- Chapter 14, Chromatic Harmony (III)
- Chapter 15, Chromatic & Enharmonic Modulation (I)
- Chapter 16, Chromatic & Enharmonic Modulation (II)
- Third Year Harmony
- Chapter 1, Preliminary
- Chapter 2, Hints And Reminders…
- Chapter 3, Treatment Of Beginnings
- Chapter 4, On The Use Of Figures (I)
- Chapter 5, Treatment Of Endings
- Chapter 6, Points Of Style And Technique
- Chapter 7, On The Use Of Figures (II)
- Chapter 8, Figures In Modulating Passages
- Chapter 9, Analysis Of A Melody
- Chapter 10, String Accompaniments
- Chapter 11, Inner Melodies
- Free Counterpoint
- Chapter 1, Preliminary
- Chapter 2, Two-Part Work (I)
- Chapter 3, Two-Part Work (II)
- Chapter 4, Three-Part Work (I)
- Chapter 5, Three-Part Work (II)
- Chapter 6, Three-Part Work (III)
- Chapter 7, Advanced Three-Part Work (I)
- Chapter 8, Advanced Three-Part Work (II)
- Chapter 9, Four-Part Work
- Chapter 10, Chorale Counterpoint
- Species Counterpoint
- 2 Parts 1st Species
- 2 Parts 2nd Species
- 2 Parts 3rd Species
- 2 Parts 4th Species
- 2 Parts 5th Species
- 3 Parts 1st Species
- 3 Parts 2nd Species
- 3 Parts 3rd Species Vn 1
- 3 Parts 3rd Species Vn 2
- 3 Parts 4th Species Vn 1
- 3 Parts 4th Species Vn 2
- 3 Parts 5th Species Vn 1
- 3 Parts 5th Species Vn 2
- 4 Parts 1st Species
- 4 Parts 2nd Species
- 4 Parts 3rd Species
- 4 Parts 4th Species
- 4 Parts 5th Species
- 4 Parts Combined Species
- Polyphonic Composition
- Chapter 1, Plainsong
- Chapter 2, 1st Species
- Chapter 3, 2nd Species
- Chapter 4, Species 1 & 2
- Chapter 5, 3rd Species
- Chapter 6, 4th Species
- Chapter 7, 5th Species
- Chapter 8, 5th Species With A Cantus Firmus
- Chapter 10, 2 Part Fugal Style, No Cantus Firmus
- Chapter 11, 3 Part Homphonic Style
- Chapter 12, Fantasia On A Cantus Firmus
- Chapter 13, Three-Part Fugal Style
- Chapter 14, Three-Part Motet
- Models For Beginners In Composition
- Works
- Fluteplay.com
- Contact
