0:10 Legato
1:01 Vibrating the String
2:30 Stringing
2:38 Characteristics of the Bow Review
3:20 Gravity and the Bow
3:46 The Neutral Whole Bow
7:22 Playing the Neutral Whole Bow
7:42 Playing Louder and Softer
9:25 Movement of the Right Hand-Arm—Same Shape as the Bow

0:22 Unbalancing for More Sound at the Ends of the Bow
1:31 Unbalancing for String Changes or Crossings
1:52 Predictive Falling
3:41 Allowing Gravity to Do Its Work
4:23 Prelude to Bach’s G Major Suite as Example
6:04 Gigue from Bach’s C Major Suite as Example
9:43 Movement of the Hand-Arm. Inten...

0:18 Three Ways to Find the Pitch
0:22 The Sound Image
2:23 Trial and Error
2:56 Visual Cues
3:17 The Grid
4:12 The Dot
4:26 Intonations Other than Equal Temperament
5:58 Recovering from a Missed Note
6:17 The Scheme of the Grid
13:32 Natural Harmonics
15:50 False Harmonics
18:16 Harmonic Symbol

:19 Playing in a Single Location on All Four String
:21 Location instead of Position
:30 Organization of the Notes in one Location
1:13 The Dot Stays the Same
1:35 The Relationship of the Notes
2:15 Shifting
4:23 Quick Review of Anatomy
5:03 Styles of Shifts | Efficient and Expressive
6:21 Eye-Ha...

:24 Vibrato is Simply Shorting and Lengthening the String
:53 Intensity of Vibrato Must Match Intensity of Bowing
2:24 Bernstein’s Unique Vibrato Application
3:06 Vibrato Changes Through the Years
3:46 Anatomy Again
4:20 Making Vibrato
7:13 The Thumb Stabilizes the Hand
7:55 Ya-Ya Movement
9:50 F...