MusicCoach difficulty
70/100
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
Harmonic analysis
1
Theory
Knowledge of forms
1
Rhythm
Polyrhythm 2 against 3
1
Style
Modern and contemporary style
1
Tone
Touch control
1
Technique
Hand independence
1
Interpretation
Dynamics
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, op. 17
Paul Hindemith
close skills
low risk
to confirm
A short step up, staying in Advanced (around grade 8 ABRSM/RCM). The skill that will carry the work: Connaissance des formes and Style moderne et contemporain — understand the form and the harmony before memorising, or memory collapses the moment you play for someone.
Gentle
Organ Sonata no. 3, "On Old Folksongs"
Paul Hindemith
close skills
low risk
to confirm
A short step up, staying in Advanced (around grade 8 ABRSM/RCM). New compared with the previous piece: Polyphonie à trois voix ou plus and Connaissance des formes — 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
Piano Sonata in F sharp minor
Igor Stravinsky
close skills
moderate risk
to confirm
A real step up: this piece moves you into Great repertoire (diploma level, beyond grade 8). The skill that will carry the work: Connaissance des formes and Style moderne et contemporain — understand the form and the harmony before memorising, or memory collapses the moment you play for someone.
Balanced
Piano Sonata no. 1 in F sharp minor
Arnold Bax
close skills
moderate risk
to confirm
A real step up: this piece moves you into Great repertoire (diploma level, beyond grade 8). The skill that will carry the work: Connaissance des formes and Style moderne et contemporain — 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 no. 3 in B minor, op. 58
Frédéric Chopin
partial transfer
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: Passages rapides and Connaissance des formes — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Challenge
Piano Sonata no. 2 in B flat minor, op. 36
Sergei Rachmaninoff
partial transfer
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: Passages rapides and Connaissance des formes — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Same level
Same level
Suite, op. 5
Maurice Duruflé
partial transfer
low risk
to confirm
Equivalent demands, still Advanced (around grade 8 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.
Same level
Fugue in C minor, for organ
Charles Ives
partial transfer
low risk
to confirm
Equivalent demands, still Advanced (around grade 8 ABRSM/RCM): what changes is the ground. What changes is the skill in play: Polyphonie à trois voix ou plus and Ornements baroque — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Same level
Study no. 9: The Anti-Abolitionist Riots in the 1830s and 1840s, for piano
Charles Ives
partial transfer
low risk
to confirm
Equivalent demands, still Advanced (around grade 8 ABRSM/RCM): what changes is the ground. What changes is the skill in play: Gammes et arpèges and Style moderne et contemporain — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
The Finale Allegro vivace feels like a brisk, driving race, with orchestral piano colors, sharp accents and abrupt rhythmic breaks that give the movement an energetic, galvanizing character rather than a lyrical one. You will need to work especially on Polyrhythm 2 against 3 (3.1/5) — here that means keeping a steady pulse in one hand while fitting triplet groupings in the other, requiring precise subdivision and a secure fingering to lock the accents — and Harmonic analysis (3.6/5), because the modal and chromatic progressions demand quickly identifying pivot tones and shaping inner voices to preserve harmonic clarity. Placed in the modern period and among the composer's early piano works (op. 2), this finale showcases his orchestral approach to the piano and a blend of late-Romantic and more modern coloristic influences.