🇺🇸Samuel Barber : Excursions Op.20-2
DifficultyThe base difficulty score is calculated using AI-assisted analysis.
MECHANICS
65.0
上級
Mus
★
★
★
★
★
5.0
Elite
About This Piece’s Difficulty
Piabase rates this piece at 65.0 for technical difficulty ("Advanced") and 5.0 for musicality.Secure technique is required, and detailed control and the ability to shape the performance as a whole become important.Alongside deep understanding of the work, an exceptionally high level of musical expression is required in tone, phrasing, timing, and structure.
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
George Gershwin
3 Preludes No.2 in cis-moll for Four Hands
Advanced Tec65.0
Mus★ 5.0
Nikolai Karlovich Medtner
8 Mood Pictures Allegro con grazia quasi waltz Op.1-8
Advanced Tec65.0
Mus★ 5.0
Ludwig van Beethoven
12 Variations on Ein Mädchen oder Weibchen Op.66
Advanced Tec65.0
Mus★ 5.0
Francis Jean Marcel Poulenc
15 Impromptus No.15 “Hommage à Edith Piaf” in c-moll FP.176
Advanced Tec65.0
Mus★ 5.0
Franz Liszt
Bagatelle sans tonalité S.216a/R.60c
Advanced Tec65.0
Mus★ 5.0
Ferruccio Busoni
Ballet Scene Op.6
Advanced Tec65.0
Mus★ 5.0
Anatoly Konstantinovich Lyadov
Barcarolle in Fis-Dur Op.44
Advanced Tec65.0
Mus★ 5.0
Gabriel Urbain Fauré
Barcarolle No.10 in a-moll Op.104-2
Advanced Tec65.0
Mus★ 5.0
The second piece of Barber’s Excursions incorporates the language of the blues into a classical piano setting, unfolding at a relaxed tempo. Above the steady pulse created by the left-hand bass and chords, the right-hand melody proceeds in a speech-like manner, while syncopations and subtle accents add a distinctive sway. Repetition provides the foundation, yet changes in register and texture create a progression in which simplicity and refinement meet. In performance, avoid making the beat overly mechanical; instead, remain aware of the characteristic space and weight of the blues while allowing the melody to emerge clearly. Balancing the inner voices and accompaniment, and shaping the dynamics without exaggeration, helps preserve the piece’s natural, expressive character.