🇵🇱Frederic Chopin : Mazurka no.33 H-Dur Op.56-1
DifficultyThe base difficulty score is calculated using AI-assisted analysis.
MECHANICS
78.0
上級
Mus
★
★
★
★
★
5.0
Elite
About This Piece’s Difficulty
Piabase rates this piece at 78.0 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
Nikolai Karlovich Medtner
3 Dithyrambs No.1 in D-Dur Op.10-1
Advanced Tec78.0
Mus★ 5.0
Nikolai Karlovich Medtner
3 Tales No.3 in E-Dur Op.17-3
Advanced Tec78.0
Mus★ 5.0
Alexander Scriabin
5 Preludes “Allegro drammatico” Op.74-3
Advanced Tec78.0
Mus★ 5.0
Alexander Scriabin
5 Preludes “Douloureux, dechirant” Op.74-1
Advanced Tec78.0
Mus★ 5.0
Franz Liszt
Années de pèlerinage deuxième année “Italie” Il penseroso in cis-moll S.161/R.10-2
Advanced Tec78.0
Mus★ 5.0
Franz Liszt
Années de pèlerinage deuxième année “Italie” Sonetto 123 del Petrarca in As-Dur S.161/R.10-6
Advanced Tec78.0
Mus★ 5.0
Franz Liszt
Années de pèlerinage première année “Suisse” Le mal du pays in e-moll S.160/R.10-8
Advanced Tec78.0
Mus★ 5.0
Franz Liszt
Années de pèlerinage troisième année Aux cyprès de la Villa d’Este II S.163/R.10
Advanced Tec78.0
Mus★ 5.0
One of Chopin’s later mazurkas, this piece combines the lively step of a dance with an expansive lyrical quality. Within its triple meter, the placement of accents and the rhythmic center of gravity subtly shift, while brief motives are passed along to shape the musical flow. Rather than separating melody and accompaniment mechanically, listening closely to the inner voices brings the changes in texture into clearer relief. Avoid overemphasizing the meter from the outset, and let the phrases breathe through natural rubato. In the middle section and at changes of character, carefully organize the tone color and pedal, while preserving the buoyancy of the dance and treating the delicate ornaments as part of the melodic line.