🇷🇺Dmitri Borisovich Kabalevsky ： Lyrical Tunes No.2 Waltz Op.91
DifficultyThe base difficulty score is calculated using AI-assisted analysis.
MECHANICS
50.0
中級
Mus
★
★
★
★
★
4.0
Advanced
About This Piece’s Difficulty
Piabase rates this piece at 50.0 for technical difficulty ("Intermediate") and 4.0 for musicality.In addition to fundamental technique, this piece calls for a wider range of skills, including secure fingering and detailed control.Advanced expressive ability is required to shape tone color, phrasing, and the character of the work with care.Musical shaping matters more than the technical difficulty alone suggests, and expressive refinement after the notes are learned strongly affects the finished result.
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
Georg Friedrich Händel
2 Chaconnes No.1 in F-Dur HWV 485
Intermediate Tec50.0
Mus★ 4.0
Jean Sibelius
4 Lyric Pieces – Gentle West Wind Op.74-2
Intermediate Tec50.0
Mus★ 4.0
Dmitri Borisovich Kabalevsky
4 Preludes No.1 Semplice Op.5-1
Intermediate Tec50.0
Mus★ 4.0
Jean Sibelius
5 Characteristic Impressions – In Mournful Mood Op.103-5
Intermediate Tec50.0
Mus★ 4.0
Jean Sibelius
5 Pieces (The Trees) – When the Rowan Blossoms Op.75-1
Intermediate Tec50.0
Mus★ 4.0
Franz Peter Schubert
6 Ecossaises No.1 in As-Dur D421
Intermediate Tec50.0
Mus★ 4.0
Franz Peter Schubert
6 Ecossaises No.1 in As-Dur D697
Intermediate Tec50.0
Mus★ 4.0
Franz Peter Schubert
6 Ecossaises No.2 in As-Dur D697
Intermediate Tec50.0
Mus★ 4.0
No. 2, “Waltz,” from Kabalevsky’s Lyrical Tunes, Op. 91, is a short piece that combines the light movement of a dance with the expressive quality of a singing melody. Its appeal lies in the gentle sway characteristic of a waltz and in allowing the melody to emerge naturally above the accompaniment. Carefully shaping the expression and dynamics of each phrase brings out the subtle shades within its approachable character. Avoid rushing the tempo, keep the left hand supple, and give the right-hand melody a long-breathed legato and a natural singing quality. Even in the smaller developments, avoid exaggerating the expression and preserve the overall flow.