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mendelssohn's SONGS WITHOUT WORDS op.67, no.2
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Topic: mendelssohn's SONGS WITHOUT WORDS op.67, no.2
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alison128
PS Silver Member
Newbie
Posts: 7
mendelssohn's SONGS WITHOUT WORDS op.67, no.2
on: March 17, 2010, 06:52:56 AM
Dear all,
I 'm learning this piece, and I wish to get advice from anyone about how to practice this piece more efficiently....I found it quite hard for me.....I need some guidance coz I'm learning all by myself....Thank you ^ ^
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Mendelssohn: Allegro leggiero Op. 67 No. 2 in F-sharp Minor
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stevebob
PS Silver Member
Sr. Member
Posts: 1133
Re: mendelssohn's SONGS WITHOUT WORDS op.67, no.2
Reply #1 on: March 17, 2010, 12:59:25 PM
You don't say what specific problems you're having. Without knowing that, I wouldn't have any suggestions about how to remedy them.
If you're finding the piece "quite difficult," it's possible that it may be too difficult for you at present.
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peterjmathis
PS Silver Member
Jr. Member
Posts: 79
Re: mendelssohn's SONGS WITHOUT WORDS op.67, no.2
Reply #2 on: March 17, 2010, 02:13:18 PM
Yeah, we can't really help without more details about the problem.
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alison128
PS Silver Member
Newbie
Posts: 7
Re: mendelssohn's SONGS WITHOUT WORDS op.67, no.2
Reply #3 on: March 18, 2010, 12:54:06 AM
Hi, I'm sorry I did not really specify on the difficulties which i faced, for example the fingering, some of the fingering indicated on the piece itself make me feel very uncomfortable, shall I just practise till i get myself comfortable with it or can i just follow my own fingering which is much more comfortable?
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stevebob
PS Silver Member
Sr. Member
Posts: 1133
Re: mendelssohn's SONGS WITHOUT WORDS op.67, no.2
Reply #4 on: March 18, 2010, 02:14:32 AM
It can be assumed that there's a reason or a purpose for the fingerings printed on a score, so it's wise generally to at least consider them. But even the best editors' fingering suggestions are only
suggestions
, and they're not expected to be suitable for everyone.
The best fingering is what works for you, provided it's based on principles of comfort, efficiency and economy of movement, and control over articulation.
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