In the interests of clarity, some works which are essentially the same works with different titles (the Concerto for Soprano and Orchestra and the Concerto de la Fidelité, for example) have been omitted.
There is a great deal of discussion amongst musicologists as to the authenticity of the various catalogs already published in the handful of biographical works devoted to Germaine Tailleferre, one of which even includes a category of "titles which were not given by the composer".
[1] Many works included in those catalogs are missing from this list because they cannot be verified by either published scores or primary manuscript sources.
Works which are easily verifiable through either published scores, recordings, copies of film and television presentations kept in national archives and works for which concert programmes have been kept at libraries or archives.
Robert Orledge's catalog of manuscript sources in Germaine Tailleferre (1892–1983) : A Centenary Appraisal" Muziek & Wetenschap 2 (Summer 1992) which he examined in Paris during September, 1991, which include complete scientific descriptions of the manuscript objects.