Preface — Quarter-notes, half-notes, and whole-notes (and rests) — High, medium, and low tones — 2/4 and 4/4 meters — G-clef, and tones f’, g’, a’, b’ — Eighth-notes and sixteenth-notes — Tones e’ and c’ — 3/4 meter, dotted half-notes, ties — Tones d’ and c’; octave; ledger lines; one- and two-lined octaves — Slurs; syllable division; up-beats; dynamic accents — Dotted quarter- and eighth-notes (and rests) — Small octave; major scale; # and natural; diatonic and chromatic half-tones; key signatures — Time-signatures of simple meters having the denominators 1, 2, 8, and 16; indications for slow and moderate tempi; brevis and dotted whole-notes — Three- and four-lined octaves; b — Double-dotted notes (and rests); thirty-second- and sixty-fourth-notes; indications for fast tempi — Bass clef; great octave; intervals; perfect fifth and fourth; inversions — Metric accents; meter and rhythm; cundoctors’ patterns for beating time; syncopation; compound meters — Contra octrave and sub-contra octave; major and minor thirds and sixths; transposition — Triplets and other divisions by factors not implied in the time-signatures — Major and minor seconds and sevenths — Indications for changing tempi — Meters with signatures having the numerators 5, 7, etc. and corresponding patterns for beating time — Alto clef; augmented and diminished intervals; prime or unson; x and bb; enharmonic transcription; circle of fifths, circle of fourths — Indications of dynamics and expressions — Musical Form — Tenor clef; intervals exceeding the octave; doubly diminshed or augmented intervals; minor scale (all forms); Church Modes; relative major and minor; signatures of minor keys — Abbreviations; rests longer than one measure; ornaments; marks of articulation; chromatic scale — Preface to Part Two — Dictations (incl. discussion of ‘absolute pitch’) — Index