CHAPTER I

I. THE BASIS OF TECHNIQUE 

2. THE MENTAL ASPECT 

3. BOW TECHNIQUE THE FIRST ESSENTIAL 

CHAPTER II 

TECHNIQUE 

4. THE METHOD OF HOLDING THE VIOLIN 

5. THE METHOD OF HOLDING THE BOW  

CHAPTER III 

THE TECHNIQUE OF THE BOW: BOWING  

6. THE STROKE 

7. THE UPPER HALF OF THE BOW  

8. THE LOWER HALF OF THE BOW  

9. THE HEIGHT OF THE ARM WHEN PLAYING ON DIFFERENT STRINGS 

CHAPTER IV  

10. THE COMPLETION OF THE STROKE 

11. THE COMBINED MOVEMENT 

12. WHICH PART OF THE ARM SHOULD BE USED FOR EACH DIVISION OF THE BOW  

13. WHOLE-BOWS 

14. JOINING THE BOWS TOGETHER 

15. MAINTAINING TENSITY BETWEEN TWO STROKES 

16. THE WRIST MOVEMENT AND FINGER FLEXION 

CHAPTER V  

17. FLEXION OF THE THUMB AND FINGERS 

18. COMBINED   FINGER  FLEXION  AND   WRIST MOVEMENT 

19. THE FUNCTIONS OF THE FINGERS 

20. THE FOURTH FINGER 

21. CROSSING OVER THE STRINGS BY MEANS OF THE WRIST MOVEMENT 

CHAPTER VI 

22. POSITIONS OF THE ARM WHEN CROSSING OVER THE STRINGS 

23. STUDIES FOR THE DEVELOPMENT OF THE WRIST MOVEMENT 

24. THE WRIST MOVEMENT AT THE MIDDLE AND POINT OF THE BOW  

25. STUDIES FOR THE WRIST MOVEMENT AT THE MIDDLE AND POINT OF THE BOW  

HOW TO PRACTISE THE WRIST MOVEMENT AND FINGER FLEXION 

27. WHERE THE WRIST-AND-FINGER FLEXION IS EMPLOYED 

CHAPTER VII 

28. COMBINING DURATION OF NOTE WITH LENGTH OF BOW  

29. TENSE CONTROL OF THE BOW  

30. PLAYING A NUMBER OF NOTES ACROSS THE STRINGS IN ONE BOW  

31. HOW TO OBTAIN GRADATIONS OF TONE 

32. POSITION WHICH THE HAND MAINTAINS TOWARDS THE BOW  

33. WHICH PORTION OF THE HAIR TOUCHES THE STRINGS 

34. ANGLE OF THE BOW TOWARDS THE STRINGS 

CHAPTER VIII 

VARIOUS BOWINGS 

35. SAUTILLÉ MODÉRÉ (Moderate Sautillé.)

36. LE GRAND DÉTACHÉ 

37. MARTÉLÉ 

CHAPTER IX  

38. SAUTILLÉ 

 CHAPTER X  

39. SPRING OR ELASTIC STACCATO  

40. STACCATO  

41. FLYING STACCATO  

CHAPTER XI 

42. SAUTILLÉ ARPEGGIO BOWINGS 

CHAPTER XII 

43. THE BOWING OF CHORDS 

PART II CHAPTER XIII 

THE TECHNIQUE OF THE LEFT HAND  

44. POSITION OF THE HAND (IN THE FIRST POSITION)

45. POSITION OF THE THUMB (FIRST POSITION)

46. POSITION OF THE KNUCKLES (FIRST POSITION)

47. POSITION OF THE LEFT WRIST AND FOREARM  

48. POSITION OF THE LEFT ELBOW AND UPPER ARM  

CHAPTER XIV  

49. ACTION OF THE FINGERS 

50. FLEXION OR RELAXATION OF THE FINGERS AFTER TENSITY  

51. POSITION OF HAND IN THE THIRD POSITION 

52. POSITION OF HAND IN THE SECOND POSITION 

CHAPTER XI 

53. SLIDING  

54. POSITION OF THE HAND DURING SLIDING  

55. DIFFERENT METHODS OF SLIDING  

56. HOW THE SLIDE IS EXECUTED 

CHAPTER XVI 

57. ORDER OF TAKING THE POSITIONS 

58. SCALES AND ARPEGGI

59. FINGERING OF SCALES IN TWO OCTAVES 

60. FINGERING OF SCALES IN THREE OCTAVES 

CHAPTER XVII 

61. THE PRACTICE OF DOUBLE STOPPING  

62. SLIDING IN DOUBLE STOPPING  

63. RIGHT-HAND PIZZICATO  

64. LEFT-HAND PIZZICATO  

65. HARMONICS 

66. STUDIES IN DOUBLE STOPPING, CHORDS, LEFT-HAND PIZZICATO, AND HARMONICS 

CHAPTER XVIII 

67. THE SHAKE 

68. TREMOLO OR VIBRATO OF THE LEFT HAND

PART III  CHAPTER XIX  

69. SIGHT-READING  

70. CONTROLLED MOVEMENT 

CHAPTER XX  

71. STUDIES FOR THE DEVELOPMENT OF VIOLIN TECHNIQUE 

CHAPTER XXI 

72. THE MUSICAL DEVELOPMENT OF THE PUPIL 

CHAPTER XXII 

73. THE CHOICE OF MUSIC 

74. THE EXTENT OF MUSICAL KNOWLEDGE 

75. THE IMPORTANCE OF PHRASING  

CHAPTER XXIII 

76. JUST INTONATION 

CHAPTER XXIV  

77. IMPORTANCE OF A NATURAL ATTITUDE WHILST PLAYING

CHAPTER XXV  

78. GENERAL REMARKS 

CONCLUSION 

APPENDIX  

LIST OF MUSIC RECOMMENDED FOR STUDY VIOLIN SCHOOLS 

STUDIES 

SHORT LIST OF MUSIC FOR STUDY 

IST POSITION 

IST TO 3RD POSITIONS 

ALL POSITIONS