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| On Conducting | |
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| The Teachable Technique of Conducting | |
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| Imagination and reproduction | |
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| Learning how to conduct | |
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| The student's curriculum | |
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| Exercises for developing musicianship | |
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| Conducting | |
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| Clarity of conducting gestures | |
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| Idiosyncrasies of Conducting | |
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| Representation of works | |
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| The performer's standard | |
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| The problems of conducting | |
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| The executant's responsibility | |
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| Orchestral Playing and Conducting | |
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| The orchestra's idiosyncracies | |
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| Intensification | |
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| Limitation and enrichment | |
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| Song the basic law of all musical reproduction | |
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| The Science of the Orchestra | |
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| The Bow Instruments | |
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| The leader and his duties | |
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| Tuning-in | |
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| Collocation of the orchestra | |
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| Rehearsing accommodation | |
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| Idiosyncracies of bow-instrument technique | |
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| Finger- and bow-accent | |
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| Legato | |
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| Changes of bowing, position, and string | |
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| The non-legato stroke | |
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| Pizzicato | |
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| Vibrato | |
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| Col legno, sul tasto, sul ponticello, tremolo | |
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| Final remarks | |
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| Technique and its applications | |
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| Preparedness in music | |
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| Leader and orchestra | |
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| The Wind Instruments | |
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| The Woodwind | |
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| Tone production and breathing | |
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| Varying the tone | |
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| Aids to variation of tone | |
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| Maintaining the natural volume | |
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| Purity of pitch | |
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| Tone-colorations | |
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| Apportioned melodic patterns | |
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| Final recommendations | |
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| Repertory of woodwind soli | |
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| The Brass | |
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| General remarks | |
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| Technical idiosyncrasies of brass instruments | |
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| Late attacks | |
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| Detaching by breathing | |
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| Double-tonguing | |
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| 'Lightening' | |
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| Avoiding a dropping of the tone | |
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| Avoiding wrong crescendi | |
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| Extension | |
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| Listening while playing | |
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| Passing on a phrase | |
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| The onward urge | |
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| Muting | |
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| Equal volume of all notes in chords | |
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| Grouping of instruments | |
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| Performance and interpretative possibilities | |
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| The Percussion | |
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| Use and significance of the percussion group | |
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| The players | |
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| The instruments and how to use them | |
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| Conductor, players, and timpanist | |
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| Instruments with definite pitch | |
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| The timpani | |
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| Bells, celesta, gong, and xylophone | |
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| Instruments without definite pitch | |
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| Drums | |
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| Cymbals | |
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| Tamtam, triangle, castanets, and tambourine | |
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| The percussion in orchestral playing | |
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| The Harp | |
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| Marking the parts | |
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| Conductor and Music | |
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| The Technique of Conducting | |
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| The basic types of conducting by gestures | |
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| Whole bar, half-bar, triple-time, and quadruple-time beating | |
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| Beating four, six, eight, nine, or twelve quavers | |
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| Preliminary upbeat | |
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| The pause and the endbeat | |
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| The general pause | |
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| The caesura | |
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| Pause and caesura in the interpretation of melody | |
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| Uses of upbeat and endbeat movements | |
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| Motif upbeat | |
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| Motif endbeat | |
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| Period-division by means of upbeats and endbeats | |
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| The natural starting-point of the motions of conducting | |
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| The conductor's bearing | |
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| Clarity of conductor's motions | |
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| The Applied Technique, or Practice, of Conducting | |
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| Conditions of teaching | |
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| Method of tuition | |
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| Practical Examples | |
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| Beethoven: First Symphony | |
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| Adagio molto and Allegro con brio | |
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| Andante cantabile con moto | |
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| Menuetto, Allegro molto e vivace | |
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| Adagio, and Allegro molto e vivace | |
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| R. Strauss: 'Till Eulenspiegel' | |
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| I. Stravinsky: 'L'Historire du Soldat' | |