Detailed Table of Contents

This preserves the complete structure from the original, including all subsections.

Front Matter

Introduction to the English Translation — p. 5
Preface — p. 7

Part I: Rhythm (Chapters I–VII)

Chapter I — The Charm of Impossibilities and the Relation of the Different Subject Matters — p. 13

Chapter II — Rāgavardhana, Hindu Rhythm — p. 14

Ametrical Music — p. 14
Rāgavardhana — p. 14

Chapter III — Rhythms with Added Values — p. 16

Added Value — p. 16
Use of the Added Value — p. 16
Rhythmic Preparations and Descents — p. 17
Relation to Added Notes — p. 17

Chapter IV — Augmented or Diminished Rhythms and Table of These Rhythms — p. 18

Augmented or Diminished Rhythms — p. 18
Addition and Withdrawal of the Dot — p. 18
A Table of Some Forms of Augmentation or Diminution of a Rhythm — p. 18
Inexact Augmentations — p. 19

Chapter V — Nonretrogradable Rhythms — p. 20

Retrograde Rhythms — p. 20
Nonretrogradable Rhythms — p. 20
Relation of Nonretrogradable Rhythms and Modes of Limited Transpositions — p. 21

Chapter VI — Polyrhythm and Rhythmic Pedals — p. 22

Superposition of Rhythms of Unequal Length — p. 22
Superposition of a Rhythm upon Its Different Forms of Augmentation and Diminution — p. 23
Superposition of a Rhythm upon Its Retrograde — p. 23
Rhythmic Canons — p. 24
Canon by the Addition of the Dot — p. 25
Canon of Nonretrogradable Rhythms — p. 26
Rhythmic Pedal — p. 26

Chapter VII — Rhythmic Notations — p. 28

First Notation — p. 28
Second Notation — p. 28
Third Notation — p. 28
Fourth Notation — p. 29
Some Metrical Rhythms — p. 30

Part II: Melody (Chapters VIII–XII)

Chapter VIII — Melody and Melodic Contours — p. 31

Intervals — p. 31
Melodic Contours — p. 31
Folk Songs — p. 32
Plainchant — p. 33
Hindu Ragas — p. 33

Chapter IX — Bird Song — p. 34

Chapter X — Melodic Development — p. 35

Elimination — p. 35
Interversion of Notes — p. 35
Change of Register — p. 36

Chapter XI — Song-Sentence, Binary and Ternary Sentences — p. 37

Song-Sentence — p. 37
Commentary — p. 38
Binary Sentence — p. 38
Ternary Sentence — p. 38
List of Melodic Periods — p. 39

Chapter XII — Fugue, Sonata, Plainchant Forms — p. 40

Fugue — p. 40
Sonata — p. 40
Development of Three Themes, Preparing a Final Issued from the First — p. 41
Variations of the First Theme, Separated by Developments of the Second — p. 42
Plainchant Forms — p. 44
Psalmody and Vocalise — p. 45
Kyrie — p. 45
Sequence — p. 46

Part III: Harmony (Chapters XIII–XIX)

Chapter XIII — Harmony, Debussy, Added Notes — p. 47

Added Notes — p. 47
Added Sixth and Added Augmented Fourth — p. 47
Relation of Added Notes and Added Values — p. 48
Use of Added Notes — p. 48

Chapter XIV — Special Chords, Clusters of Chords, and a List of Connections of Chords — p. 50

The Chord on the Dominant — p. 50
The Chord of Resonance — p. 50
The Chord in Fourths — p. 50
Effects of Resonance — p. 51
Clusters of Chords — p. 51
A Look at Other Styles — p. 52
Natural Harmony — p. 52
A List of Connections of Chords — p. 53

Chapter XV — Enlargement of Foreign Notes, Upbeats and Terminations — p. 55

The Pedal Group — p. 55
The Passing Group — p. 56
The Embellishment Group — p. 56
Upbeats and Terminations — p. 56

Chapter XVI — Modes of Limited Transpositions — p. 58

Theory of the Modes of Limited Transpositions — p. 58
First Mode of Limited Transpositions — p. 59
Second Mode of Limited Transpositions — p. 59
Third Mode of Limited Transpositions — p. 60
Modes 4, 5, 6, and 7 — p. 61
Relation of Modes of Limited Transpositions and Nonretrogradable Rhythms — p. 62

Chapter XVII — Modulations of These Modes and Their Relation to the Major Tonality — p. 64

Relation to the Major Tonality — p. 64
Modulation of a Mode to Itself — p. 65
Modulation of a Mode to Another Mode — p. 65

Chapter XIX — Polymodality — p. 68

Two Superposed Modes — p. 68
Three Modes Superposed — p. 69
Polymodal Modulation — p. 69

Appendix

Catalogue of Works — p. 71