1. Counterpoint. Sixteenth century through twelve-tone practices. 2. Notes for advanced harmony class. Twelve-tone melodies with choral settings. 3. Examples of various harmonic and polyphonic practices from Shepherd's own works. 4. Settings of songs (1942). 5. List of projects for immediate future. Sketches for some of these.

1. Harmony class notes through secondary seventh, extended alterations, plagal method, parallel fifth and seventh. 2. Materials for analysis. 3. References to Hindemith text.

1. Plan for four-movement Symphonic Suite. 2. Piano sketches. 3. Polyphonic settings of model melodies.

1. Elementary harmony class notes (1943) progressing to somewhat more advanced material than that in Book 2. 2. Harmonizations of several chorale melodies. 3. Double counterpoint at the octave, tenth, and twelfth. 4. Examples in small form design. 5. Fugue subjects and answers by Arthur Shepherd.

1. Counterpoint. More detailed and extensive than Book 1. 2. Counterpoint for a beginning class, 1948. 3. Materials for elementary counterpoint class at Longy School, 1950. Somewhat different approach from the 1948 course.

1. Twenty-four texts for musical settings. Personnel indicated for most. 2. Outline of counterpoint course, 1949-50. First semester, strict counterpoint. Second semester, Bach-type counterpoint.

1. Examples of triple counterpoint. 2. Examples of motivic development. 3. Notes for course in small musical forms. 4. Counterpoint in 2, 3 and 4 voices. Fugue subjects and answers.

1. Course in small forms for the Longy School, 1950. Similar to course in Book 7. More detailed as far as it goes but less comprehensive.