HE playing of die viola has been one of the sadly neglected arts. This is all the more incredible T when we realize, as we all do today, that the instrument with its rich, mellow tone should always have been regarded as one of the most ideally gratifying mediums of musical expression when played by the accomplished artist. The insignificant position that the viola had occupied in the field of solo instru- ments in the past undoubtedly was responsible for the apparent neglect in its artistic exploitation to such a degree that in nearly every symphony orchestra throughout the world the viola section (with the none- tor-frequent exception of the principal player) was composed of cast-offs from the second violins, who, al- ready too old to perform satisfactorily on their respective instruments, were relegated to pass their remain- ing years of service playing viola. Happily, we have a different picture of the orchestral viola sections in most of our modern symphonic bodies today. Virile young players are adopting the viola as their major instrument, and that sly, well- known German sobriquet, Pensions-instrument, surely is deserved no longer. The viola should be studied and played by young artists who especially adapt themselves to the serious presentation of the instrument as aseparate and independent medium of expression, which requires fully as much intelligent, conscientious, and diligent application to achieve noteworthy results as any orches- tral instrument.

Table of Contents:
Introduction: The Left Hand. The Right Hand. The Stroke.- The Viola d'Amore: Yesterday and Today.- The First Study: A Presentation of Fundamental Diatonic Principles in Each Position. The Development of Tonal Concentration.- The Second Study: The Diatonic Principle with Varied Fingerings in Position Changes.- The Third Study: The Diatonic Principle Introduced on the Different Degrees of the Scale. Varied Fingerings.- The Fourth Study: The Development of Resiliency and Elasticity in General Finger Action with Emphasis on Fourth-Finger Manipulation.- The Fifth Study: Application of the Principles of the First Study in Broken-Third Sequences.- The Sixth Study: Finger Dexterity and Independence in Position Changes on Each String.- The Seventh Study: Broken Chords in Each Position Utilized Fundamentally for the Development of Intonation and Intervalic Concentration.- The Eighth Study: The Diminished Fifth and Augmented Fourth in Chromatically Treated Diminished Chord Formations. A Further Treatment of Intonation and Intervalic Cognizance.- The Ninth Study: Triads on Each String Especially Designed for Hand Expansion and Fourth-Finger Development.- The Tenth Study: The Principles of the Seventh Study in an Extended Compass.- The Eleventh Study: A Rhythmical Elaboration on Broken Chords in Extended Positions on the Seven Diatonic Degrees.- The Twelfth Study: The Final Development of the Seventh and Tenth Studies.- The Thirteenth Study: Broken Chords on Each String for the Development of Individual Finger Gliding and Dexterity in Hand Shifting.- The Fourteenth Study: The Development of Finger Resiliency and Elasticity in Position Changes.- Appendix: Viola and Viola d'Amore Literature for Concert and Study.