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Fedor Violin Method Volume 2





            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




Etude No. 7, D. Fedor


Etude Op. 45 No. 20,  F. Wohlfahrt






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