Alfred Day's controversial work, presenting the case for strict and free harmony, in its second edition of 1885.

Author's preface; Editor's preface; General introduction: of thorough bass; Part I. Diatonic Harmony, or Harmony in the Strict Style: 1. Of intervals; 2. Scales and keys; 3. Of the progression of parts in the diatonic or strict style; 4. Of common chords and their inversions; 5. Of sequence; 6. Of discords; 7. The first species of diatonic discords; 8. The second species of discords; 9. The third species of discords; 10. The fourth species of discords; 11. Of pedals in the strict or diatonic style; 12. Of modulation in the strict or diatonic style; Part II. Chromatic Harmony, or Harmony in the Free Style: Introduction; 13. Of chromatic or fundamental harmony, the intervals used therein, and chromatic scales; 14. Of the progression of parts in chromatic harmony; 15. Of false relation as regards fundamental harmony; 16. Of common chords and their first inversions; 17. Of the second inversions of concords; 18. Of the fundamental sevenths of the dominant, supertonic, and tonic; 19. Of the fundamental minor and major ninths of the dominant, supertonic, and tonic; 20. Of the chord of the fundamental eleventh of the dominant; 21. Of the fundamental chords of the thirteenth of dominant, supertonic, and tonic; 22. Of the chords of the augmented sixth; 23. Of the suspension of fundamental chords; 24. Of mixture of the diatonic and chromatic styles; 25. Of diatonic and chromatic passing notes in the free style, and arpeggios; 26. Of pedals in the free style; 27. Of modulation in the free style; Appendix; Postscript.