MusicCoach difficulty
58/100
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
Harmonic analysis
1
Theory
Knowledge of forms
1
Pedaling
Sustain pedal
1
Style
Romantic style
1
Rhythm
Tempo rubato
1
Technique
Legato
1
Interpretation
Phrasing
1
Rhythm
General rhythm
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 in D major, op. 106
Johann Nepomuk Hummel
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: Connaissance des formes — understand the form and the harmony before memorising, or memory collapses the moment you play for someone.
Gentle
Piano Sonata no. 3 in F minor, op. 20
Johann Nepomuk Hummel
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: Connaissance des formes — 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. 3 in C major, op. 2 no. 3
Ludwig van Beethoven
close skills
moderate risk
to confirm
A real step up, staying in Intermediate (around grade 7 ABRSM/RCM). New compared with the previous piece: Indépendance des mains and Connaissance des formes — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Balanced
Piano Sonata in A flat major, op. 92
Johann Nepomuk Hummel
close skills
moderate risk
to confirm
A real step up: this piece moves you into Advanced (around grade 7 ABRSM/RCM). The skill that will carry the work: Connaissance des formes — 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
Piano Sonata in F sharp minor, op. 81
Johann Nepomuk Hummel
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: Trilles and Demi-pédale — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Challenge
Piano Sonata no. 14 in C sharp minor, op. 27 no. 2, "Moonlight"
Ludwig van Beethoven
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: Trilles and Balance mains — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Same level
Same level
Mazurkas, op. 68
Frédéric Chopin
close skills
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: Contrôle du toucher — what matters is quality of attack and evenness of tone, not speed.
Same level
3 Amusementes en forme de caprices, op. 105
Johann Nepomuk Hummel
close skills
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: Style classique — the notes are not enough: articulation and ornaments follow performance conventions best checked in an urtext edition.
Same level
Capriccio in E flat major, op. posth.6
Johann Nepomuk Hummel
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: Contrôle du toucher — what matters is quality of attack and evenness of tone, not speed.
This II. Allegro non troppo is lively and playful yet controlled: the pulse moves forward steadily, with right- and left-hand exchanges that require short, clear attacks and crisp articulation rather than long sustained legato lines. Connaissance des formes (3.6/5) will be needed to shape the small reprises and contrasting episodes — here you must anticipate thematic returns to plan breaths and dynamic shading — and Tempo rubato (3.1/5) requires measured, subtle flexibility without breaking the drive, a gesture of preserving the pulse while sculpting phrases. Within Hummel’s piano output this sonata shows a move toward more romantic coloring while keeping the formal clarity of the earlier tradition.