Left-handedness has long been considered a deviation from the norm, and musical instruments are generally designed for right-handed players. However, the question arises whether handedness – the superiority of one hand in performing certain tasks – also plays a role in a complex activity like making music. The altered playing situation on instruments for left-handed individuals touches on a largely unexplored and tabooed topic. This book provides a historical overview and describes the current state of dealing with left-handedness in music-making – with implications not only for the conventional order of music performance but especially for the performance capabilities and health of the musicians involved. The author, a cellist and right-handed left-hander, analyzes the subject from the perspective of an orchestral musician and instrumental educator.