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
Tone
Touch control
1
Interpretation
Dynamics
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
Little Suite
Roy Harris
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
Suite in C major, FP19
Francis Poulenc
close skills
low risk
to confirm
A short 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 step
A genuine step up, without a jolt.
Balanced
Suite '1922', op. 26
Paul Hindemith
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
Creole Dance Suite, op. 15
Alberto Ginastera
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
Petite suite in 15 images
Jacques Ibert
close skills
high risk
to confirm
An ambitious leap while staying in Intermediate (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 Style baroque — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Challenge
Was der Wald erzählt, suite
Erich Wolfgang Korngold
close skills
moderate risk
to confirm
An ambitious leap while staying in Intermediate (around grade 6 ABRSM/RCM) — only worth starting if the practice time is really there. 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.
Same level
Same level
Invention No.14 in B-flat major BWV 785
Johann Sebastian Bach
partial transfer
low risk
to confirm
Equivalent demands, right at the edge of Elementary (around grade 5 ABRSM/RCM): different ground, same level. What changes is the skill in play: Indépendance des mains and Style baroque — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Same level
Invention No.11 in G minor BWV 782
Johann Sebastian Bach
partial transfer
low risk
to confirm
Equivalent demands, right at the edge of Elementary (around grade 5 ABRSM/RCM): different ground, same level. What changes is the skill in play: Indépendance des mains and Style baroque — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
The II. “Shimmy” presents a dry, rhythmic character with sharp accents and contrapuntal replies that feel like a dance of crisp, articulated gestures rather than a long, singing line. You will specifically face the « Style baroque (4.1/5) » requirement, which here calls for clear articulation between independent voices and careful fingering to detach or connect each line, and « Ornaments baroque (4.1/5) », which requires executing brief ornamental figures (mordents, acciaccaturas) with an immediate wrist release to keep their precision. The piece comes from the composer's modern period and occupies its place as a polyphonic movement within the Suite op. 26, combining older stylistic references with a more contemporary language.