Does this fingering make sense?

It's a good fingering.

 

It works! I'd prefer 4-2 on F-E but at this point I guess it's personal. Try everything you can think of and see what you prefer!

 

My guess is most players, myself included, would be more comfortable using 4-2 on the F-E. I would probably play the G as a harmonic to make the transition to the F cleaner.

 

It doesn't make sense to me. I'd play all four notes under the slur in one position, 2-4-2-1.

 

I would prefer 1-3-2-1-4-1, or 1-3-4-2-4-1. Shifting on the same finger in the middle of a bow is awkward to me, I would avoid if I could.

 

I'm feeling more comfy with 132141 too. The 1321 or even 1421 (to open up your hand more on the descent) can be part shift, part extension or pivot.

3 down to 4 tangles up my fingers.

 

I like it except I’d do 4-2 for F-E like Silevesq mentions above, but I know a lot of people incorporate 3 in this range.

In keeping with the slur suggestions I mentioned in your other thread, I would break the slur after beat 1 of this measure.

In the next measure I would also break the slur after beat 1. Then I would slur from beat 2 through to the F of beat 2 in the next bar. Separate bows to conclude the phrase.

 

What is even more interesting is that major third slur from c to e in the second bar after your example. To get these big jump slurs on one string clean without hearing any slide sounds can be challenging.

 

Why does it have to be on one string?

 

Doesn’t have to be but it sounds nice on one string (if you play it well).
Also you probably play the a and b before the c on the g string so it would make more sense to play c and e on one string.

 

I like the 132141 approach for the outlined bar because of the smaller shift to set up the E that moves from finger to finger. Even simple phrases like this can be like mazes with dead-end fingerings. But, hey, this is a valuable part of the learning process. There will always be the one awkward shift to do your best to hide when slurring.

It is perfectly logical to come down the G string for the second bar because the repeated notes are in the same position and do not interfere with the smoothness of the phrase. The awkwardness is how to then set up and finger the first two notes of the third bar, C to E. Each way that you look at it is not comfortable. If you finger the second bar on the D string there is an awkward move on first finger from G to A then a 4 - 4 shift to set up C to G across the strings. For me the least uncomfortable is to finish the second bar 1 - 2 to set up C on 4 then disguise the slurred shift up to E on 2.

You can accuse me of gloating when I say that my using 1 2 3 4 fingering can make life easier.

 

A lot of people use four finger technique in that position these days (see David's last comment ^^). I didn't learn that way, but think of it as a fourth finger extension. It's not anything new.