- 1Dedication — Introduction
- 2Chapter I — Anomalous Position of the Violin
- 3Chapter II — A Toneless Method of Valuation
- 4Chapter III — Types of Standard Violin Tone
- 5Chapter IV — The Old Masters as Violin Makers
- 6Chapter V — The Decline of Tone
- 7Chapter VI — Relationship Between a New Violin and Tone
- 8Chapter VII — Old Tone and New — A Contest
- 9Chapter VIII — A Double-Barrelled Theory
- 10Chapter IX — The Expert Dealer
- 11Chapter X — Imitation Old Masters
- 12Chapter XI — Literature of the Violin
- 13Chapter XII — Wanted — A Tone Guarantee
- 14Chapter XIII — How to Test a Violin’s Tone
- 15Chapter XIV — Effect of Age on Tone
- 16Chapter XV — Varnish and Tone
- 17Chapter XVI — Tone and the Violin Player
- 18Chapter XVII — The Ideal Tone
- 19Chapter XVIII — How to Acquire an Ideal Tone
- 20Chapter XIX — Two Styles of Tone Production
- 21Chapter XX — Modern Violin Makers
- 22Chapter XXI — Notes on Tone
- 23Conclusion
- 24Account of the Principal Violin Makers — Prefatory Note
- 25Addendum
Violin Tone and Violin Makers
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