MusicCoach difficulty
55/100
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
Rhythm
Polyrhythm 2 against 3
1
Style
Modern and contemporary style
1
Style
Character and style
1
Tone
Touch control
1
Interpretation
Phrasing
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
Petite suite in 15 images
Jacques Ibert
close skills
low risk
to confirm
A short step up, staying in Intermediate (around grade 7 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
7 Mechanisms, suite, W.50
George Antheil
close skills
low risk
to confirm
A short step up, staying in Intermediate (around grade 7 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
Suite for Piano, op. 14, BB70, Sz.62
Béla Bartók
close skills
moderate risk
to confirm
A real step up: this piece moves you into Advanced (around grade 7 ABRSM/RCM). New compared with the previous piece: Polyphonie à deux voix and Style baroque — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Balanced
El Sombrero de tres picos Suite for piano
Manuel de Falla
close skills
moderate risk
to confirm
A real step up: this piece moves you into Advanced (around grade 7 ABRSM/RCM). New compared with the previous piece: Polyphonie à trois voix ou plus and Ornements romantiques — 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
Suite, op. 5
Maurice Duruflé
close skills
high risk
to confirm
An ambitious leap into Advanced (around grade 8 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 Style baroque — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Challenge
English Suite no. 3 in G minor, BWV.808
Johann Sebastian Bach
partial transfer
high risk
to confirm
An ambitious leap into Advanced (around grade 8 ABRSM/RCM) — only worth starting if the practice time is really there. New compared with the previous piece: Passages rapides and Style baroque — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Same level
Same level
Sinfonia No.9 in F minor BWV 795
Johann Sebastian Bach
new reflexes
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 Style baroque — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Same level
Prelude and Fugue in D minor
Sergei Prokofiev
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
Allegretto: Invention
Charles Ives
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 deux voix and Demi-pédale — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
This Scherzando — Coda Presto ed energico creates a nervous, driving mood with percussive accents and dynamic surges that feel like a sharply articulated, sometimes sarcastic dance rather than a lyrical piece. You will face technical challenges tied to Connaissance des formes (4.1/5): you must clearly map the short episodes and repeats to shape phrasing and anticipate rapid transitions, and Ornaments baroque (4.1/5) demand crisp attacks and controlled accents to render small ornaments precisely within the fast tempo. The piece belongs to the composer's modern period and is part of a suite of criolla dances for solo piano, exploiting folkloric gestures and often polyphonic textures. I do not give a recommended recording here out of caution, since I cannot be certain of a widely recognized reference for this specific movement.