Cello, bow and you : putting it all together

Content: The Sound Image. What You Hear in Your Head 
 Playing by Ear or Reading Music 
 Shaping the Sound Image 
 Elements of the Sound Image 
 The Cellist's Objective --
The Cello and the Bow. Observation 
 The Beauty of the Instrument 
 The Bridge and the Sound Post 
 The Strings 
 The Nut, the Tailpiece, and the Fingerboard 
 The Role of the Bow --
Stringing. Where the Bow Meets the String 
 The Art of Stringing 
 Newton's Laws in Cello Playing 
 Application of Stringing --
The Fingerboard. The Fingerboard Grid : An Image-Based Approach 
 Harmonics 
 Playing the Grid 
 Learning the Fingerboard : Positions Versus the Grid --
Tools of the Trade : The Robotic Left Hand and the Bow. Observing the Left Hand as a Tool 
 Observing the Bow as a Tool --
A Gravity-Centered Technique for Bowing. The Natural Laws and How They Affect Bowing 
 Gravity-Centered Approach to the Whole Bow 
 Legato : The Soul of the Cello 
 The Neutral Whole Bow --
Short Notes as Part of the Whole Bow Stroke. Short Notes on the String 
 Short Notes off the String 
 Short Notes with More Than One Note in Each Direction 
 Coda --
An Overview of You. Coordination and the Alexander Technique 
 Whole-Body Playing 
 Harmony of Movement : Hands Lead the Arms, Arms Move the Hands 
 Opposition as Cooperation : Co-Handedness --
Sitting and Holding the Cello. Anatomical Vocabulary 
 Sitting : The First Technique 
 An Overview of the Spine 
 The Role of the Brain and the Spinal Cord in Playing 
 How to Sit : Moving from Standing to Sitting 
 Holding the Cello --
Breathing. Anatomy of the Dorsal Spine, the Rib Cage, and Breathing 
 How Breathing Works 
 The Cycle of Breath 
 The Role of Breathing When Playing --
The Hands. Anatomy of the Hands 
 Functions of the Hands 
 Function Applied to Cello Playing --
The Arm Moves the Hand. The Shoulder Girdle and the Shoulder Joint 
 The Wrist and the Elbow Joints --
 Putting It All Together : Application of Anatomy. Bowing 
 Shifting 
 Vibrato 
 Energetic Force for Playing --
Practice as Process. Creative Practice as Experiment 
 Creative Process as Research 
 Progress Is Never a Straight Line, and It Takes Time 
 Two Paths of Learning 
 Creating Your Practice Space 
 Creating Concentration and Consciousness 
 Setting an Agenda 
 Assessment 
 Pitfalls 
 Embrace What Is Right --
Rhythm, Melody, and Harmony. Rhythm 
 Scales and Melody 
 Scales and Harmony --
Auralization and Visualization. Using Auralization 
 Using Visualization 
 Integrating Auralization and Visualization 
 Visualization as Looking Inward --
Warming Up. A Practice Warm-up Routine 
 Warm-ups before Playing 
 A Rhythmic Routine Away from the Instrument 
 Warming Up at the Instrument --
Practice Techniques. Preserving Energy Through No-energy Practice 
 Just the Beginning of the Note 
 Correcting Wrong Notes 
 Reversing 
 Postlude.