MusicCoach difficulty
80/100
Master repertoire
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
Ornaments
Romantic ornaments
1
Technique
Fast passages
1
Technique
General technique
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 E minor, op. 63
Vincent d'Indy
close skills
low risk
to confirm
A short step up, staying in Advanced (around grade 8 ABRSM/RCM). New compared with the previous piece: Doubles notes and Connaissance des formes — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Gentle
Piano Sonata no. 16 in A minor, D.845, op. 42
Franz Schubert
close skills
low risk
to confirm
A short step up, staying in Advanced (around grade 8 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 step
A genuine step up, without a jolt.
Balanced
Piano Sonata no. 2 in G minor, op. 50, "Eroica"
Edward MacDowell
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 Passages rapides — understand the form and the harmony before memorising, or memory collapses the moment you play for someone.
Balanced
Piano Sonata no. 1 in G minor, op. 45, "Tragica"
Edward MacDowell
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 Passages rapides — 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 no. 31 in A flat major, op. 110
Ludwig van Beethoven
close skills
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: Indépendance des mains 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. 4 in E minor, op. 59, "Keltic"
Edward MacDowell
close skills
moderate risk
to confirm
An ambitious leap into Great repertoire (diploma level, beyond grade 8) — only worth starting if the practice time is really there. The skill that will carry the work: Connaissance des formes and Passages rapides — understand the form and the harmony before memorising, or memory collapses the moment you play for someone.
Same level
Same level
Second Modern Suite, op. 14
Edward MacDowell
partial transfer
low risk
to confirm
Equivalent demands, still Advanced (around grade 7 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
First Modern Suite, op. 10
Edward MacDowell
partial transfer
low risk
to confirm
Equivalent demands, still Advanced (around grade 7 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
Impromptu no. 1 in A flat major, op. 29
Frédéric Chopin
partial transfer
low risk
to confirm
Equivalent demands, still Advanced (around grade 7 ABRSM/RCM): what changes is the ground. What changes is the skill in play: Demi-pédale and Passages rapides — the pedal is set by ear, note by note: misjudged, it blurs the harmony instead of joining it.
This movement calls for an elfin, fleet character: short, light attacks and a flowing legato within rapid figurations to convey nimbleness rather than mere showmanship. Knowledge of form (3.6/5) is essential: you must identify recurring sections and prepare transitions so repeats and cuts feel natural, letting the little thematic cell return organically; tempo rubato (3.1/5) requires very fine control of phrasing, subtly stretching or compressing the pulse while keeping the left-hand accompaniment clear. From the Romantic period, this work is the composer's second piano sonata and belongs to his output of solo piano pieces.