In this lesson, Lelchuk explains what warming up is and why we string players should do it. How, after all, do we approach the cello when we first sit down? What should be the very first thing we do? Lelchuk believes that with a methodical approach day after day, we will train our fingers and hands to be ready to tackle the challenges of a full practice session.

In this lesson, we learn about finger spacing in the first position. We learn about half steps and whole steps, and the importance of producing a full, rich sound, using the entire bow. We also learn about bow division, and why purposeful bow division is so important for solving many technical issues on the cello.

In this lesson, we learn about shifting by scale degree. Lelchuk emphasizes how crucial it is to plan shifts slowly and vibrate when possible to keep a loose and relaxed left hand.

In the second of the Feulliard shifting exercises in this book, we must learn to go longer distances on the cello. Lelchuk tells us the importance of hearing the note after the shift before physically shifting so that our ears can help train our hands. We also learn about releasing the arm weight and gradually gliding up the fingerboard.

In this lesson, we study methods for achieving finger agility and speed. Lelchuk also teaches us a new different fingering, which aims to strengthen the pinky – something all cellists need work on!

The Aldo Pais chromatic scales on one string are very distinctive. Here, Lelchuk shows us ways a dense, slow bow can help achieve maximum clarity of the left hand.

The spiccato lesson is one of the central points of this entire course. Here, we go into depth on this classic exercise (whose authorship remains unknown) as we explore ways to loosen the right hand and produce a spiccato stroke that is controlled, even, and resilient.

The trill exercises aim to develop the weaker fingers of the left hand and work to make all the fingers even in what they can achieve when it comes to trills. We learn tips and tricks to relax the left hand yet produce fast, even trills between all fingers.

In this lesson on thumb position, we learn about major and minor thirds as we work to build the shape of the hand. Lelchuk again stresses the importance of shifting slowly and hearing the glissando between positions to build up our muscle memory.

In the quasi-exotic exercises by Tortelier, we explore the "Marathon anti-Routine," which, similar to Cossmann velocity studies, works on crisp, clean left finger articulation. We also find ways to increase speed while decreasing tension.

In the lesson on vibrato by Paul Bazelaire, we study the independence of the hands. We learn why it is so important for the left hand to be independent of the right, and we learn how to vibrate in a big way, regardless of volume.

In the Michel Simmönsian vibrato exercise, we study the art of continuous vibrato. One of the most important aspects of string playing, Lelchuk puts special emphasis on the art of continuous vibrato and how we can learn to control all our fingers and hand oscillations so we can produce long, singing lines.

In this lesson, we get a summary of the basic question: why is it so important to practice this book every day? We learn that repetition builds muscle memory and that when we build our foundation solidly, we will learn the repertoire we dream of playing faster and more thoroughly than we ever thought possible.