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Fedor Violin Method Volume 2

INTRODUCTION<= /p>

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In volume 1 students learn the very basic foundatio= ns of violin playing. They develop proper habits for holding the violin and the b= ow, 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 specif= ic analysis of left and right hand technique. At the same time, it further increases general musical knowledge such as reading notes, understanding rh= ythm and dynamics and developing a greater musical sense.

These aims can be realized through a process which cal= ls for the practice of more scales, exercises, and etudes. All practicing should b= egin with the playing of scales. The ordered structure of sc= ales 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 difficulti= es, but also to enhance technical knowledge which ca= n 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 = &nb= sp;

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Etude No.= 1, D. Fedor

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Etude No. 2, D. Fedor

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Etude No. 3, D. Fedor

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Etude Op. 45 No. 3, F. Wohlfahrt

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Etude No. 3 - Variation, D. Fedor<= /i>

Practice with the Sharp, Natural and = Flat Signs

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Practice with the Flat and Natural Si= gns

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Etude Op. 45 No.1, F. Wohlfahrt

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Etude Op. 45 No. 2, F. Wohlfahrt

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

More Practice with the Flat and Natur= al Signs

Etude No. 4, D. Fedor

Etude Op. 45 No. 18, F. Wohlfahrt

Practice with Extending the 3rd Finge= r

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<= o:p>

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= TABLE OF PIECES

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= Gavotte, F.J. Gossec

Musette, J.S. Bach

Minuet, G.P. Telemann=

Minuet and Trio 1, W.A. M= ozart

Minuet and Trio 2, W.A. M= ozart

Tambourin, J.P. Rameau

La Joyeuse, J.P. Rameau

Minuet, J.S. Bach

Spring Song, F. Mendelsso= hn

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 N= o. 4, C. Tessarini

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Copyright Ó 2006 by Fedor International = Music

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