MusicCoach difficulty
72/100
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
Knowledge of forms
1
Technique
Hand independence
1
Technique
Fast passages
1
Rhythm
Polyrhythm 2 against 3
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 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: Analyse harmonique and Style classique — understand the form and the harmony before memorising, or memory collapses the moment you play for someone.
Gentle
Sonata in D minor, K.141, L.422
Domenico Scarlatti
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: Analyse harmonique and Style baroque — 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
Piano Sonata no. 8 in A minor, K.310
Wolfgang Amadeus Mozart
partial transfer
moderate risk
to confirm
A real step up: this piece moves you into Advanced (around grade 8 ABRSM/RCM). New compared with the previous piece: Analyse harmonique and Style classique — understand the form and the harmony before memorising, or memory collapses the moment you play for someone.
Balanced
Piano Sonata no. 16 in A minor, D.845, op. 42
Franz Schubert
partial transfer
moderate risk
to confirm
A real step up: this piece moves you into Advanced (around grade 8 ABRSM/RCM). New compared with the previous piece: Analyse harmonique and Passages rapides — understand the form and the harmony before memorising, or memory collapses the moment you play for someone.
Ambitious challenge
A useful leap with guided practice.
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 Analyse harmonique — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
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 Analyse harmonique — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Same level
Same level
Hungarian Rhapsody no. 3
Franz Liszt
new reflexes
low risk
to confirm
Equivalent demands, still Intermediate (around grade 7 ABRSM/RCM): what changes is the ground. The skill that will carry the work: Passages rapides — 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
partial transfer
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: Analyse harmonique and Style baroque — understand the form and the harmony before memorising, or memory collapses the moment you play for someone.
Same level
French Suite no. 4 in E flat major, BWV.815
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: Style baroque and Ornements baroque — the notes are not enough: articulation and ornaments follow performance conventions best checked in an urtext edition.
The III. Scherzo-Finale has a crisp, percussive character, alternating harsh accents and skipping figures that require constant rhythmic focus. Technically, note especially "Passages rapides (2.5/5)", which demands precise finger work and quick wrist motion to articulate the rapid bursts cleanly, and "Polyrhythmie 2 contre 3 (2.5/5)", which requires tightly controlled hand-to-hand coordination to maintain the independent 2:3 relationship between voices. This is presented as the composer’s Piano Sonata No. 1, and the finale functions as a compact, forceful counterpart within that sonata. I do not provide a reference performance because I am not 100% certain of a widely recognized recording for this specific movement.