The value of Mr. Weisberg's approach is immediately evident in his simple but valuable graphs and analogies. Other chapters deal with vibrato, finger technique, concentration, practicing and breathing. At the end of each chapter are several exercises geared to help one master the concepts presented. Wind players have to artificially produce those vibrations which the strings naturally produce because of their acoustic design. Many teachers, while themselves good players and musicians, do not understand the mechanics of this technique and have trouble passing it on to their students.
Nothing is mentioned about voicing or tone color.
The section on breathing avoids the problems of the beginner and deals with more advanced techniques. The chapter on musicianship deals with style and interpretation. When discussing interpretation Mr. Weisberg remains lucid and interesting, but when he discusses the 'evolution of style,' he oversimplifies and moves onto shaky ground. There is some confusion as to the difference between a musical style and a musical period. His comments on ornamentation do not even hint at the improvisatory technique of the baroque and early classical periods.