Chapter I: Front Matter

Player--Use of a Sliding Pin Recommended--Correct Way of
Holding the Bow--Some Incorrect Sketches of Same 6

CHAPTER III.--General Knowledge--Eccentricity not Necessarily a
Mark of Genius--Musical Notation--Common Errors with Respect
to the Actual Position of the Various Clefs--Tenor Clef
Indispensable to the 'Cellist 12

CHAPTER IV.--Early Attempts at 'Cello Playing--Firmness in
Fingering--The Left Hand--Correct Method of Placing the Left
Hand Fingers 17

CHAPTER V.--General Remarks on Bowing--Useful Method of
Combining Scale Practice with Study of Various
Bowings--Smooth Bowings--Crescendo--Diminuendo--The Slur 20

CHAPTER VI.--Bowing Continued--Martelé--Detached Stroke--Mixed
Bowings--The Various Divisions of the Bow 28

CHAPTER VII.--On "Staccato" Bowing--Spiccato--Slurred
Springing-Bow--Varieties of Phrasing Occasioned by the
Portion of Bow Used--Sautillé--Dotted Notes 33

CHAPTER VIII.--On the Positions--The Individual Requirements of
the Orchestral Player and Soloist--The Necessity of
"Stretching" for the Intervals--The Locality of the Neck
Positions--The Enharmonic Difference of Sharp and Flat
Keys--Absolute Pitch--How to Leap any Awkward Interval--The
Positions not Determined by Mathematical Rules, but by the
"Ear"--Shifting--"Economy of Motion" _v._ "Effect"--Choice
of Positions 42

CHAPTER IX.--Portamento--The Various Uses of Gilding--Some
Exaggerations Exposed--How to Leap Great Intervals without
"Howling"--Combination of Glissando and Sforzando 54

CHAPTER X.--Double-Stopping--Useful in Developing the Hand--How
to Determine the Fingering of Various Intervals--Gliding in
Double Stops--Chords--A Correct Manner of Playing Chords 61

CHAPTER XI.--Arpeggios--Their Evolution from Various
Chords--The Bowing of Arpeggios 67

CHAPTER XII.--Graces and Embellishments--The Use of the
Thumb--Extensions--Octaves 73

CHAPTER XIII.--Scientific Basis of Harmonics--Some Peculiar
Laws which Govern a Vibrating String--"Natural" and
"Artificial" Harmonics--Manner of Bowing Harmonics82

CHAPTER XIV.--Special Effects--"Trick Staccato"--Various
Methods of Producing Chromatic Scale Passages--"Sul
Ponticello" Bowing and "Bowed"
Harmonics--Flautando--Pizzicato Glide and Grace Notes! 89

CHAPTER XV.--Delivery--Style--"Form" _v._
"Feeling"--Conception--Essentials of a "Fine"
Delivery--Orchestral Playing 94