MusicCoach difficulty
65/100
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
Reading
Bass clef reading
1
Style
Baroque style
1
Ornaments
Baroque ornaments
1
Technique
Hand independence
1
Technique
Fast passages
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
Sonata in D major, K.491, L.164
Domenico Scarlatti
close skills
low risk
to confirm
A short step up — but it is the one that moves you into Advanced (around grade 7 ABRSM/RCM). New compared with the previous piece: Polyphonie à deux voix and Connaissance des formes — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Gentle
Harpsichord Sonata in C major, BWV.966
Johann Sebastian Bach
close skills
low risk
to confirm
A short step up, staying in Intermediate (around grade 7 ABRSM/RCM). The skill that will carry the work: Connaissance des formes and Style baroque — 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
Fugue no. 5 en Ré Majeur, BWV.874
Johann Sebastian Bach
close skills
moderate risk
to confirm
A real step up: this piece moves you into Advanced (around grade 8 ABRSM/RCM). New compared with the previous piece: 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.
Balanced
Sonata in C minor, K.302, L.7
Domenico Scarlatti
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 and Style baroque — 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 in G major, K.427, L.286
Domenico Scarlatti
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: Ornements romantiques and Demi-pédale — ornaments must be secure before the piece goes up to tempo, otherwise they break the line instead of decorating it.
Challenge
Sonata Op.57 (Appassionata)
Ludwig van Beethoven
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: Trilles and Rythmes pointés — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Same level
Same level
Harpsichord Suite in A major, HWV.426
George Frideric Handel
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: Polyphonie à trois voix ou plus and Demi-pédale — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Same level
Prélude no. 4 en do dièse mineur, BWV.849
Johann Sebastian Bach
partial transfer
low risk
to confirm
Equivalent demands, still Intermediate (around grade 6 ABRSM/RCM): what changes is the ground. 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
French Suite no. 2 in C minor, BWV.813
Johann Sebastian Bach
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: Polyphonie à deux voix and Style baroque — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
This D minor sonata evokes a restrained, singing character with alternating crossed-hand figurations and pointed responses that require clear musical direction and precise articulation. The skill “Connaissance des formes (3.6/5)” is crucial here: you must identify phrases and repeats to shape coherent arcs and handle contrasts between sections, while “Lecture clé de fa (3.1/5)” means concretely reading the bass line smoothly with the left hand, making quick shifts and keeping rhythmic continuity as the right hand sings. The piece belongs to Scarlatti's Baroque keyboard sonatas, typical short works that probe agility and hand-to-hand dialogue.