🇷🇺Mily Alekseyevich Balakirev : 30 Russian Folk Songs No.27 What a Heart in g-moll
DifficultyThe base difficulty score is calculated using AI-assisted analysis.
MECHANICS
36.0
初級
Mus
★
★
★
★
★
4.0
Advanced
About This Piece’s Difficulty
Piabase rates this piece at 36.0 for technical difficulty ("Elementary") and 4.0 for musicality.This piece can be approached with fundamental technique, while gradually developing accuracy and control.Advanced expressive ability is required to shape tone color, phrasing, and the character of the work with care.Although technically approachable, the piece requires strong expressive ability to sound true to its character.
Play Status
0
Total
Played
0
Practicing
0
Want to Play
0
Suitability
0
Total
Competition
0
Concert
0
Exam
0
Performance Videos
Pieces at a Similar Difficulty
Bartók Béla Viktor János
3 Piano Pieces No.2 Adagio
Elementary Tec36.0
Mus★ 4.0
Edvard Grieg
25 Norwegian Dances and Songs Holje Dale Op.17-19
Elementary Tec36.0
Mus★ 4.0
Mily Alekseyevich Balakirev
30 Russian Folk Songs No.3 Lazarus in F-Dur
Elementary Tec36.0
Mus★ 4.0
Mily Alekseyevich Balakirev
30 Russian Folk Songs No.4 Last Judgment in d-moll
Elementary Tec36.0
Mus★ 4.0
Mily Alekseyevich Balakirev
30 Russian Folk Songs No.5 Book of the Dove in g-moll
Elementary Tec36.0
Mus★ 4.0
Mily Alekseyevich Balakirev
30 Russian Folk Songs No.7 Russian Folk Song in g-moll
Elementary Tec36.0
Mus★ 4.0
Mily Alekseyevich Balakirev
30 Russian Folk Songs No.9 Grisha Otrepyev in g-moll
Elementary Tec36.0
Mus★ 4.0
Mily Alekseyevich Balakirev
30 Russian Folk Songs No.10 Vasily Okulevich in c-moll
Elementary Tec36.0
Mus★ 4.0
The 27th piece in Balakirev’s collection of Russian folk-song arrangements for piano four hands. Centered on a folk melody, it unfolds as the two performers share different registers and musical roles. Listening to the changing relationship between melody and accompaniment reveals subtle shifts in the overall flow. The performers should grasp the structure as a whole, clarify the character of each section, and maintain a singing quality in the phrasing. The primo should allow the melody to emerge naturally, while the secondo provides rhythmic stability and harmonic support. The musical highlight lies in an ensemble that avoids competing in volume and breathes as one. The inflections and resonance of the melody should be shaped with care.