MusicCoach difficulty
60/100
Intermediate
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
Ornaments
Baroque ornaments
1
Style
Baroque style
1
Style
Impressionist style
1
Pedaling
Sustain pedal
1
Style
Romantic style
1
Rhythm
Tempo rubato
1
Interpretation
Dynamics
1
Interpretation
Phrasing
1
Technique
Two-voice polyphony
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
Florestan, suite, JS 82
Jean Sibelius
close skills
low risk
to confirm
A short step up, staying in Intermediate (around grade 6 ABRSM/RCM). New compared with the previous piece: Polyphonie à trois voix ou plus and Style baroque — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Gentle
Jacqueline, suite of waltzes
Jacques Offenbach
close skills
low risk
to confirm
A short step up, staying in Intermediate (around grade 6 ABRSM/RCM). New compared with the previous piece: Polyphonie à trois voix ou plus and Style baroque — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Balanced step
A genuine step up, without a jolt.
Balanced
Petite suite, for piano 4-hands, L.65
Claude Debussy
close skills
moderate risk
fair confidence
A real step up, staying in Intermediate (around grade 6 ABRSM/RCM). The skill that will carry the work: Style baroque and Ornements baroque — the notes are not enough: articulation and ornaments follow performance conventions best checked in an urtext edition.
Balanced
5 Humoresques in the Form of Suite, op. 17
Ernst von Dohnányi
close skills
moderate risk
to confirm
A real step up, staying in Intermediate (around grade 6 ABRSM/RCM). The skill that will carry the work: Style baroque and Ornements baroque — the notes are not enough: articulation and ornaments follow performance conventions best checked in an urtext edition.
Ambitious challenge
A useful leap with guided practice.
Challenge
Clair de lune (Suite bergamasque No.3)
Claude Debussy
close skills
high risk
to confirm
An ambitious leap into Advanced (around grade 7 ABRSM/RCM) — only worth starting if the practice time is really there. New compared with the previous piece: Voix chantante and Balance mains — the notes will be secure long before the musical line: work in whole phrases, singing the main voice.
Challenge
Contes de fées, suite, op. 86
Vincent d'Indy
close skills
moderate risk
to confirm
An ambitious leap into Advanced (around grade 7 ABRSM/RCM) — only worth starting if the practice time is really there. New compared with the previous piece: Polyphonie à trois voix ou plus and Demi-pédale — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Same level
Same level
Sinfonia in F major, for piano
Pietro Mascagni
partial transfer
low risk
to confirm
Equivalent demands, still Intermediate (around grade 6 ABRSM/RCM): what changes is the ground. What changes is the skill in play: Polyphonie à trois voix ou plus and Analyse harmonique — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Same level
3 Preludes and Fugues, op. 37
Felix Mendelssohn
partial transfer
low risk
to confirm
Equivalent demands, still Intermediate (around grade 6 ABRSM/RCM): what changes is the ground. The skill that will carry the work: Polyphonie à deux voix — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Same level
La canzone del cacciatore in C
Ferruccio Busoni
partial transfer
low risk
to confirm
Equivalent demands, still Intermediate (around grade 6 ABRSM/RCM): what changes is the ground. The demand here is musical rather than mechanical: Legato — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
This IV. Ballet has a sprightly, light-footed character, with lively melodic replies and shifting accents that call for an internal dance rather than Romantic weight. You will need to focus in particular on Style baroque (4.1/5) and Ornements baroque (4.1/5): the first requires clear articulation between voices and careful voicing so inner lines emerge, the second demands short, precise execution of ornaments so they color the line without weighing it down. It is the fourth movement of the Petite Suite for piano, a short, well-known piece in Debussy’s piano output often used for its contrasting character. I do not give a reference interpretation here because I am not 100% certain of a single recording to recommend for this specific work.