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
Knowledge of forms
1
Pedaling
Sustain pedal
1
Style
Romantic style
1
Rhythm
Tempo rubato
1
Theory
Harmonic analysis
1
Interpretation
Dynamics
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
Piano Sonata no. 6 in G major, op. 62
Alexander Scriabin
close skills
low risk
to confirm
A short step up, staying in Great repertoire (diploma level, beyond grade 8). New compared with the previous piece: Octaves 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. 31 in A flat major, op. 110
Ludwig van Beethoven
close skills
low risk
to confirm
A short step up, staying in Great repertoire (diploma level, beyond grade 8). 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. 10 in C, op. 70, "Trill"
Alexander Scriabin
close skills
moderate risk
to confirm
A real step up, staying in Great repertoire (diploma level, beyond grade 8). New compared with the previous piece: Ornements romantiques and Connaissance des formes — ornaments must be secure before the piece goes up to tempo, otherwise they break the line instead of decorating it.
Balanced
Piano Sonata no. 29 in B flat major, op. 106, "Hammerklavier"
Ludwig van Beethoven
close skills
moderate risk
to confirm
A real step up, staying in Great repertoire (diploma level, beyond grade 8). 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.
Ambitious challenge
A useful leap with guided practice.
Challenge
Ab irato, S.143, "The Perfect Etude"
Franz Liszt
partial transfer
high risk
to confirm
An ambitious leap while staying in Great repertoire (diploma level, beyond grade 8) — only worth starting if the practice time is really there. New compared with the previous piece: Gammes et arpèges and Demi-pédale — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Challenge
Fantasy and Fugue on the Chorale Ad nos, ad salutarem undam, S.624, R.314
Franz Liszt
close skills
high risk
to confirm
An ambitious leap while staying in Great repertoire (diploma level, beyond grade 8) — only worth starting if the practice time is really there. 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.
Same level
Same level
Ballade no. 4 in F minor, op. 52
Frédéric Chopin
partial transfer
low risk
to confirm
Equivalent demands, still Great repertoire (diploma level, beyond grade 8): what changes is the ground. What changes is the skill in play: Octaves — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Same level
Polonaise no. 6 in A flat major, op. 53, "Heroic"
Frédéric Chopin
partial transfer
low risk
to confirm
Equivalent demands, still Great repertoire (diploma level, beyond grade 8): what changes is the ground. What changes is the skill in play: Rythmes pointés and Octaves — the pitfall is the pulse drifting as soon as the writing thickens: subdivide with the metronome.
Same level
Toccata, op. 7
Robert Schumann
partial transfer
low risk
to confirm
Equivalent demands, right at the edge of Advanced (around grade 8 ABRSM/RCM): different ground, same level. What changes is the skill in play: Staccato — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
This first movement feels quick and nervous, with a delicate lightness and flashes of irony that demand rhythmic clarity amid the agitation. Connaissance des formes (3.6/5): you will need to identify and clearly shape the thematic episodes and their returns to build logical continuity and prevent briskness from becoming muddled; Pédale de sustain (3.1/5): the sustain pedal must be handled very precisely (half-pedaling and quick releases) to keep a leggiero articulation without blurring inner voices. Placed in the romantic period and written for solo piano, this sonata occupies an important role in the composer’s piano output as a demanding and expressive work.