| Preface to the Original Edition | |
| Editor's Preface | |
| A Short Sketch of the History of the Organ | p. 1 |
| Ancient Flutes | |
| Flutes on a Box of Wind | |
| Primitive Bellows | |
| Reed- and Flue-pipes | |
| Keys for the Hands | |
| Keys for the Feet | |
| Sliders | |
| Two or More Rows of Keys | |
| Portatif and Positif Organs | |
| Swell Shutters | |
| Horizontal Bellows | |
| Concussion Bellows | |
| Composition Pedals and Combination Pistons | |
| Pneumatic Lever | |
| Improvements in Organ-pipes | |
| Harmonic Stops | |
| Addenda to Part I | p. 8 |
| Pneumatic and Electric Actions | |
| Tubular Pneumatic Action | |
| Electric Action | |
| Adjustable Combination Action | |
| Reversible Pedals or Pistons | |
| Tremulant | |
| Automatic Suitable Bass | |
| Universal Air-Chest | |
| Stop Switch | |
| Crescendo Pedal | |
| Double Touch | |
| Stop-Keys, or Tilting Tablets | |
| Melodic Coupler | |
| Duplex Chest Action | |
| Inclined Manuals | |
| Spherical Pedal-Board | |
| Short Explanation of the Construction of an Organ | p. 12 |
| Tracker Action from Key to Pallet | |
| Sticker, Backfall, Tracker | |
| Arrangement of Pipes | |
| From Bellows to Pipes | |
| Trunk, Wind-chest, Pallet, Groove, Slider | |
| Couplers | |
| Tubular Pneumatic Action | |
| Electric Action | |
| Stops and Their Management | p. 19 |
| Tone-quality | |
| Length of Pipes | |
| Classification of Stops: Double, Foundation, Mutation, Compound | |
| List of Chief Manual Stops, Flue and Reed, with Character of Tone | |
| List of Chief Pedal Stops | |
| Combination of Stops on each of the Manuals from pp to ff | |
| Combination of Pedal Stops | |
| Use of Solo Organ | |
| Manual Couplers | |
| Special Stops invented by Hope-Jones | |
| Care of the Swell Organ | |
| Balanced Swell Pedal | |
| General Remarks | |
| Use of the Swell Pedal | |
| Management of Stops | |
| Practical Study | p. 30 |
| Difficulties Peculiar to Organ-playing | |
| Position on Bench | |
| Straight and Radiating Pedal-Boards | |
| Principles of Pedalling | |
| Free Ankle-joint: Exercises | |
| Method of Pedalling without Looking at Feet: Exercises | |
| Manual Touch: Its Characteristics | |
| Position of Hand: Exercises | |
| Scale-Passages on Pedals | |
| Use of Alternate Toes: Exercises | |
| Independence of Hands: Exercises | |
| Independence of Hands and Feet: Exercises | |
| Toe and Heel: Exercises | |
| Each Hand Separately with Feet: Exercises | |
| Scale-Passages | |
| Easy Trios | |
| The Legato Style | |
| Exercises for Shifting the Fingers | |
| Exercises on the Legato Touch | |
| Supplementary Pedal Studies | |
| Double Pedal | |
| Sliding Foot from One Key to Another | |
| Hints on Organ-Accompaniments: Hymn-Tunes, Chanting, Gregorian Chant | |
| Chorales and Hymn-Tunes | |
| Extended Passages for the Feet | |
| Expression on the Organ | |
| Conclusion--Allegretto in F (Stainer) | |
| Andante in A (Stainer) | |
| Fantasia in E minor (Stainer) | |
| Adagio in E[flat] (Stainer) | |
| Prelude and Fughetta in C (Stainer) | |
| Cantilene pastorale (Guilmant): Playing on Two Manuals with One Hand | |
| Caprice in B[flat] (Guilmant): Rapid Change of Manuals | |
| Savior of the Nations, Come (Nun komm, der Heiden Heiland) (Bach) | |
| Andante religioso, from Sonata in A, Op. 65, No. 4. (Mendelssohn) | |
| Prelude and Fugue in C (Bach) | |
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