🇩🇪Johannes Brahms : Study for the Left Hand after Schubert in Es-Dur Anh.IV/2
DifficultyThe base difficulty score is calculated using AI-assisted analysis.
MECHANICS
72.0
上級
Mus
★
★
★
★
★
3.0
Intermediate
About This Piece’s Difficulty
Piabase rates this piece at 72.0 for technical difficulty ("Advanced") and 3.0 for musicality.Secure technique is required, and detailed control and the ability to shape the performance as a whole become important.Fundamental musical expression, including dynamics, phrasing, and articulation, becomes an important part of the performance.
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
Alexander Scriabin
2 Dances “Guirlandes” Op.73-1
Advanced Tec72.0
Mus★ 3.0
Franz Liszt
2 Pieces from “Lohengrin” (Wagner) S.446/R.279 – 3. Lohengrin’s Reproach h-moll
Advanced Tec72.0
Mus★ 3.0
Alexander Scriabin
3 Pieces “Poeme” Op.52-1
Advanced Tec72.0
Mus★ 3.0
Alexander Scriabin
3 Pieces “Poeme languide” Op.52-3
Advanced Tec72.0
Mus★ 3.0
Bartók Béla Viktor János
4 Piano Pieces Fantasy No.1 BB 27
Advanced Tec72.0
Mus★ 3.0
Ignacy Jan Paderewski
6 Concert Humoresques Fantastic Krakowiak Op.14-6
Advanced Tec72.0
Mus★ 3.0
Felix Mendelssohn
7 Character Pieces No.1 in e-moll MWV.U44 Op.7-1
Advanced Tec72.0
Mus★ 3.0
Pyotr Ilyich Tchaikovsky
18 Morceaux Fantastic Scherzo in es-moll Op.72-10
Advanced Tec72.0
Mus★ 3.0
Based on Schubert’s Impromptu D899 No. 2, this study was written to present the music of the original using the left hand alone. With one hand taking on both melodic and accompanimental roles, the player must carefully balance the voices, distinguish their lines by ear, and devise an effective fingering for the wide range. It is important to connect each note smoothly without interrupting the flow, while bringing the principal melody to the fore. The expressive, lyrical phrasing reminiscent of the original and the layered sonority created by the left hand are among its highlights. Begin by releasing tension in the hand and establishing a steady underlying pulse, then shape the melody’s direction and breathing with care.