Wolfgang Amadeus Mozart: 60 Violin Exercises, Op. 45

Author: (German) Wolfaat
Publisher:
Publish Date: 2001-06-01
Features: In recent years, the level of violin performance and teaching in China has made great progress, and amateur violin education has become quite widespread. With the promotion of music examination systems across the country, violin education will undoubtedly become even more developed and popular. To adapt to this trend, it has become urgent to provide students with excellent teaching materials. Violin exercise books by authors such as Duhamel, Wolfaat, Kayser, Donat (Op. 37), and Mazas have been widely used in China for more than half a century. With the popularization of music education, these teaching materials will undoubtedly play a greater role. However, due to the scientific development of violin performance, the shortcomings in their training methods have become increasingly evident. This is mainly because the bowing techniques, slurs, fingerings, position choices, shifting fingerings, extended and retained fingers, use of fifths, dynamics, accents, and staccato markings in these exercises are outdated and cannot meet the needs of modern performance. Although students can learn various techniques through these exercise books, the aforementioned shortcomings have also unconsciously fostered many unscientific habits, which will bring many difficulties to their future studies. In this textbook, I have revised it as much as possible according to scientific playing methods and the principles of melodic and phrasing symbols, making it both training-valuable and applicable-valuable to help students develop scientific thinking methods while learning various techniques and scientific playing methods. The latter part of this textbook includes exercises for positions 2, 3, 4, and various shifting practices, which should be learned in synchronization with Kayser. Many of the content in this part, especially shifting and double-stopping, are missing in Kayser’s textbook and can serve as a supplement. The exercises include examples of various bowing techniques and rhythmic training. They are not only exercises for bowing techniques and finger flexibility but also training for the brain’s response and adaptability, so it is essential to practice them diligently. Due to the limited rhythmic training in traditional exercise books, students often encounter many difficulties in playing pieces. It is hoped that rhythmic training will be emphasized from the beginning in primary-level teaching materials. In recent years, the level of violin performance and teaching in China has made great progress, and amateur violin education has become quite widespread. With the promotion of music examination systems across the country, violin education will undoubtedly become even more developed and popular. To adapt to this trend, it has become urgent to provide students with excellent teaching materials. Violin exercise books by authors such as Duhamel, Wolfaat, Kayser, Donat (Op. 37), and Mazas have been widely used in China for more than half a century. With the popularization of music education, these teaching materials will undoubtedly play a greater role. However, due to the scientific development of violin performance, the shortcomings in their training methods have become increasingly evident. This is mainly because the bowing techniques, slurs, fingerings, position choices, shifting fingerings, extended and retained fingers, use of fifths, dynamics, accents, and staccato markings in these exercises are outdated and cannot meet the needs of modern performance. Although students can learn various techniques through these exercise books, the aforementioned shortcomings have also unconsciously fostered many unscientific habits, which will bring many difficulties to their future studies. In this textbook, I have revised it as much as possible according to scientific playing methods and the principles of melodic and phrasing symbols, making it both training-valuable and applicable-valuable to help students develop scientific thinking methods while learning various techniques and scientific playing methods. The latter part of this textbook includes exercises for positions 2, 3, 4, and various shifting practices, which should be learned in synchronization with Kayser. Many of the content in this part, especially shifting and double-stopping, are missing in Kayser’s textbook and can serve as a supplement. The exercises include examples of various bowing techniques and rhythmic training. They are not only exercises for bowing techniques and finger flexibility but also training for the brain’s response and adaptability, so it is essential to practice them diligently. Due to the limited rhythmic training in traditional exercise books, students often encounter many difficulties in playing pieces. It is hoped that rhythmic training will be emphasized from the beginning in primary-level teaching materials.