*    BACK

Fedor Violin Method Volume 2

 

INTRODUCTION

 

           

            In volume 1 students learn the very basic foundations of violin playing. They develop proper habits for holding the violin and the bow, and attain a sense of control in their finger placement. Students read notes for the first time, and begin to distinguish between fundamental rhythmic variations. As a result, they gain their first musical experiences which are important for further development.

            Volume 2 progresses into more advanced areas of playing, focusing on a more specific analysis of left and right hand technique. At the same time, it further increases general musical knowledge such as reading notes, understanding rhythm and dynamics and developing a greater musical sense.

            These aims can be realized through a process which calls for the practice of more scales, exercises, and etudes. All practicing should begin with the playing of scales. The ordered structure of scales allow students to concentrate on correct tone production and control of pitch. Exercises and etudes shift attention to more specific technical difficulties. Practicing them serves not only to eliminate these difficulties, but also to enhance technical knowledge which can be transferred to other pieces and used in different musical contexts.

            Therefore, the opinion that scales and etudes are not important is unrealistic. This opinion is neither beneficial for violin playing nor for a general musical education. In teaching, we cannot bypass important technical problems with the excuse that most students will probably not become professional violinists. Overcoming difficulties still demands that certain requirements should be stressed.

            In this volume, musical material is divided into two basic sections: one, consisting of scales, exercises and etudes, and the second, containing pieces. However, students should practice material form both sections simultaneously. Various sets of exercises and etudes correspond to certain pieces, as the chart in the beginning of this book illustrates. Practice of these exercises and etudes should continue in accordance with learning the corresponding pieces.

            Finally, an effective approach to practicing must be stressed. As outlined in Volume 1, after the notes and fingering are determined, all musical material should be divided and mastered slowly, segment by segment.

 

TABLE OF ETUDES AND EXERCISES                             

 

Etude No.1, D. Fedor

 

Etude No. 2, D. Fedor

 

Etude No. 3, D. Fedor

 

Etude Op. 45 No. 3, F. Wohlfahrt

 

Etude No. 3 - Variation, D. Fedor

 

Practice with the Sharp, Natural and Flat Signs

 

Practice with the Flat and Natural Signs

 

Etude Op. 45 No.1, F. Wohlfahrt

 

Etude Op. 45 No. 2, F. Wohlfahrt

 

Etude Op. 45 No. 8 & 15,  F. Wohlfahrt

 

More Practice with the Flat and Natural Signs

 

Etude No. 4, D. Fedor

 

Etude Op. 45 No. 18,  F. Wohlfahrt

 

Practice with Extending the 3rd Finger

 

Etude No. 5, D. Fedor

 

Practice with Lowering the 4th Finger

 

Etude No. 6, D. Fedor

 

Syncopation

 

Etude No. 7, D. Fedor

 

Etude Op. 45 No. 20,  F. Wohlfahrt

 

 

 

TABLE OF PIECES

 

Gavotte,  F.J. Gossec

 

Musette, J.S. Bach

 

Minuet, G.P. Telemann

 

Minuet and Trio 1, W.A. Mozart

 

Minuet and Trio 2, W.A. Mozart

 

Tambourin, J.P. Rameau

 

La Joyeuse, J.P. Rameau

 

Minuet, J.S. Bach

 

Spring Song, F. Mendelssohn

 

Canon, J. Pachelbel

 

Gavotte and Musette,  J.B. Lully

 

Humoresque, A. Dvorak

 

Polonaise,  J.S. Bach

 

Hungarian Dance No. 5,  J. Brahms

 

Concerto in D Major, Op. 1 No. 4, C. Tessarini