C O N T E N T S    

PART I  -  RELATING TO EACH OTHER

  PRELIMINARIES      

      Chamber manners     

      Preparing for character and tempo   

  LEADING  

      The cue      

      Who cues? 

      Compound, cut, and subdivided meters     

      How fast?        

      Midstream cuing      

      When cuing isn’t enough      

      Setting character without cuing       

      Leading and connecting through rhythm

  FOLLOWING  

      Roles and signals       

      Sensitive subservience    

      Switching roles     

      Combining roles       

      Imitation     

      Stylistic factions (a digression)    

      Composers’ imitations     

      Haydn’s diplomacy   

      Human parallels   

      Bow direction  

      More human parallels   

      Chords 

      Bowing patterns   

      Slurring (with a digression on literalism)  

      Articulation  

      Phrasing   

      Ornaments   

      Appoggiaturas   

      Short appoggiaturas   

      Appoggiaturas on a dotted main note  

      Suppleness  

      Turns (with a glance at wedges and dots)

      Tildes and tails       

  LISTENING

      Awareness   

      Flexible rhythm   

      Planned bending   

      Tuning   

      Tempered fifths   

      Key color and third size

      Fermatas                    

  DIFFICULT ISSUES

      Despair    

      Stampedes

      Living with conflict   

      Relying on meter   

      Sweets              

PART II  -  RELATING TO MUSIC

  WHAT TO NOTICE

      First impressions  

      Tempo and meter markings  

      Textures 

      Repetition

      Tunes and motives

      Registers   

      Rhythm

      Silence   

      Deceptive cadences   

      Initial harmonic surprise   

      Melodic surprise  

      Character and tempo change  

      False returns  

      Surprising form  

  PHILOSOPHICAL LISTENING

      Clashing worldviews   

      Haydn Op. 55 no. 2, in F minor  

      Haydn Op. 54 no. 2, in C major  

      Imagination as a guide   

      Misguided feeling

      Game plan

PART III  -  RELATING TO STUDENTS

  GENERAL PRINCIPLES 

  MASTERCLASSES

  COACHING 

      Ideal first quartet: Haydn Op. 42

PART IV  -  RELATING TO AUDIENCES

  PROGRAM NOTES

      Haydn Op. 54 no. 3, in E major

      Haydn Op. 33 no. 1, in B minor

      Haydn Op. 76 no. 5, in D major

PLATES, DECORATIONS, and TYPEFACE

ENDNOTES

BIBLIOGRAPHY  

MUSIC SCORES

AUDIO INFORMATION

GLOSSARY of MUSIC TERMS

INDEX of MUSIC EXCERPTS

GENERAL INDEX