MusicCoach difficulty
74/100
Advanced
Level of the complete work
We have no level specific to this movement. The figure above is that of the complete work: within a cycle, movements often differ widely in demand.
Estimated skills
Theory
Harmonic analysis
1
Style
Character and style
1
Technique
Fast passages
1
Technique
General technique
1
What to play next?
Each suggestion combines difficulty gap, risk, confidence and skill overlap. The first two cards in each column are the most useful pedagogically.
Gentle step
The safest next step.
Gentle
Piano Sonata B major op. post. 147 D 575
Franz Schubert
partial transfer
low risk
to confirm
A short step up — but it is the one that moves you into Advanced (around grade 7 ABRSM/RCM). New compared with the previous piece: Connaissance des formes and Style classique — understand the form and the harmony before memorising, or memory collapses the moment you play for someone.
Gentle
Piano Sonata e minor D 566/506
Franz Schubert
partial transfer
low risk
to confirm
A short step up — but it is the one that moves you into Advanced (around grade 7 ABRSM/RCM). New compared with the previous piece: Connaissance des formes and Style classique — understand the form and the harmony before memorising, or memory collapses the moment you play for someone.
Balanced step
A genuine step up, without a jolt.
Balanced
Sonata for Piano
Kalevi Aho
close skills
moderate risk
to confirm
A real step up: this piece moves you into Advanced (around grade 8 ABRSM/RCM). The skill that will carry the work: Passages rapides and Analyse harmonique — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Balanced
Solo II for Piano
Kalevi Aho
close skills
moderate risk
to confirm
A real step up: this piece moves you into Advanced (around grade 8 ABRSM/RCM). The skill that will carry the work: Passages rapides and Analyse harmonique — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Ambitious challenge
A useful leap with guided practice.
Challenge
Sonata Op.53 (Waldstein)
Ludwig van Beethoven
new reflexes
high risk
to confirm
An ambitious leap into Great repertoire (diploma level, beyond grade 8) — only worth starting if the practice time is really there. New compared with the previous piece: Trilles and Connaissance des formes — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Challenge
Sonata Op.57 (Appassionata)
Ludwig van Beethoven
new reflexes
high risk
to confirm
An ambitious leap into Great repertoire (diploma level, beyond grade 8) — only worth starting if the practice time is really there. New compared with the previous piece: Trilles and Connaissance des formes — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Same level
Same level
Toccata and fugue in D minor, BWV.565
Johann Sebastian Bach
partial transfer
low risk
to confirm
Equivalent demands, right at the edge of Advanced (around grade 7 ABRSM/RCM): different ground, same level. What changes is the skill in play: Staccato and Style baroque — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Same level
4 Impromptus, D.935, op. posth.142
Franz Schubert
partial transfer
low risk
to confirm
Equivalent demands, right at the edge of Advanced (around grade 7 ABRSM/RCM): different ground, same level. What changes is the skill in play: Indépendance des mains — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Same level
Prelude and Fugue No.21 in B-flat major BWV 866
Johann Sebastian Bach
new reflexes
low risk
to confirm
Equivalent demands, still Intermediate (around grade 7 ABRSM/RCM): what changes is the ground. What changes is the skill in play: Connaissance des formes and Style baroque — understand the form and the harmony before memorising, or memory collapses the moment you play for someone.
This III. Tranquillo molto creates a restrained, meditative mood, with measured silences, an inward pianistic gesture and lines that feel suspended rather than projected. Technical challenges include Technique générale (2.5/5), which here requires very fine touch control, minimal movement and precise fingering to keep the musical planes clear, and Passages rapides (2.5/5), which calls for short, economical wrist and hand shifts so fast figures remain articulated without breaking the tranquility. The movement is the third movement of a piano sonata by Kalevi Aho; the exact period is not provided, so it should be approached as part of his piano sonata output. I do not have a confident reference recording or performer to cite.