1.1. Transition from the Vihuela and Four-Course Guitar
1.2. Dominance of the Five-Course Guitar

2.1. Terms Pertaining to Stringing and Tuning
2.2. Different Tunings for the Baroque Guitar
2.3. Issues and Opinions on Tuning Practices in Spain
2.4. Relevance of Baroque Tuning Practices to Modern Performers

3.1. Tablature and Transcription
3.2. Punteado Notation
3.3. Rasgueado Notation
3.4. Mixed Tablatures

4.1. Octave Selection and Voice Leading
4.2. Punteado Ornaments
4.3. Campanelas
4.4. Meter and Tempo
4.5. Hemiola and Syncopation
4.6. Rasgueado Techniques
4.7. Rasgueado Ornaments

5.1. Philosophy and Intent
5.2. The Voicing and Notation of Strummed Chords
5.3. Editorial Notation

6.1–9. La cavalleria de Napoles con dos clarines, Rujero, Paradetas, Folías, Las Hachas, Zarabanda, La Esfachata de Napoles,La Miñona de Cataluña, Canarios
6.10–14. Pavanas, Españoletas, Matachín, Villanos, Passacalles

7.1–3. Jácaras, Villano, Canario

8.1–4. Marionas, Villano, Canario, Passacalles in B minor

9.1. Resumen de acompañar
     La Guastala, Menuet, Preludio in D minor
9.2. Códice Saldívar No. 4
     Marionas, Fandango, Jácaras, Zangarilleja, Cumbées
9.3. Passacalles y obras
     Passacalles in G minor, Suite in G Major, Suite in D minor

Music

La cavalleria de Napoles con dos clarines
Rujero
Paradetas
Folías
Las Hachas
Zarabanda
La Esfachata de Napoles
La Miñona de Cataluña
Canarios
Pavanas
Españoletas
Matachín
Villanos
Passacalles

Jácaras
Villano
Canario

Marionas
Villano
Canario
Passacalles in B minor

La Guastala
Menuet(s)
Preludio in D minor
Marionas
Fandango
Jácaras
Zangarilleja
Cumbées
Passacalles in G minor
Suite in G Major
Suite in D minor

Gaspar Sanz
     Instruccion de musica
Antonio de Santa Cruz
     Libro donde se veran pazacalles
Francisco Guerau
     Poema harmonico
Santiago de Murcia
     Resumen de acompañar
     Códice Saldívar No. 4
     Passacalles y obras