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Play — Schubert - Impromptu 3 in G-flat major, D. 899 (Op. 90) no. 3 · The Flaming Piano (the player loads on click)
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Play — 4 Impromptus, D. 899: III. Impromptu en Sol Bémol Majeur (Andante Mosso) · Franz Schubert, Alain Planès (the player loads on click)
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Estimated from our difficulty score, not taken from an exam syllabus. Checked against 333 works on the ABRSM syllabus: the exact grade is right 7 times out of 10, and within one grade 99 times out of 100.
Difficulty estimate by MusicCoach on a scale of 1 to 100.
Most works cluster between 45 and 65: a small score gap often marks a real step. The highlighted bar shows this work among those for the same instrument.
The MusicCoach difficulty measures a work's overall demands (technique, reading, stamina) on a shared 0-100 scale, consolidated from editorial and pedagogical reference points (Henle, exam syllabuses, curation) and our own analyses. It measures neither musical value nor the practice time YOU will need: two musicians of the same level can experience the same work very differently depending on their strengths (hands used to octaves, quick sight-reading…). The confidence reflects how many reference points sit behind the score and how well they agree — a lightly documented score is flagged “to validate”. For a truly personal bearing, the diagnostic and your space compare each work to YOUR estimated level, which the score alone cannot do.
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Each suggestion combines difficulty gap, risk, confidence and skill overlap. The first two cards in each column are the most useful pedagogically.
The safest next step.
A genuine step up, without a jolt.
A useful leap with guided practice.
Impromptu No. 3 in G-flat major has a dreamy, caressing character, with a singing melody set atop a delicate arpeggiated accompaniment that calls for a soft, flexible touch. You will particularly need to work on Complex Fingering (2.5/5) — here that means precise position shifts and inter-finger support to keep the melodic line seamless without breaking the legato — and Phrasing (2.5/5), which requires shaping long, vocal lines and balancing the main voice against the accompanying harmonies. The piece belongs to Schubert's Impromptus op. 90 (D.899), a set of solo piano pieces well established in his keyboard output. I will not name reference recordings for this specific piece because I prefer not to risk citing an uncertain reference.