MusicCoach difficulty
59/100
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
Style
Classical style
1
Technique
Hand independence
1
Technique
Legato
1
Interpretation
Dynamics
1
Interpretation
Phrasing
1
Rhythm
Tempo rubato
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 (Allegro and Allegretto) F major K. Anh. 135 (547a)
Wolfgang Amadeus Mozart
close skills
low risk
to confirm
A short step up — but it is the one that moves you into Intermediate (around grade 5 ABRSM/RCM). The skill that will carry the work: Style classique and Indépendance des mains — the notes are not enough: articulation and ornaments follow performance conventions best checked in an urtext edition.
Gentle
Piano Sonata B flat major Hob. XVI:2
Franz Joseph Haydn
close skills
low risk
to confirm
A short step up — but it is the one that moves you into Intermediate (around grade 5 ABRSM/RCM). New compared with the previous piece: Balance mains and Connaissance des formes — what matters is quality of attack and evenness of tone, not speed.
Balanced step
A genuine step up, without a jolt.
Balanced
Piano Sonata C major Hob. XVI:35
Franz Joseph Haydn
close skills
moderate risk
to confirm
A real step up: this piece moves you into Intermediate (around grade 6 ABRSM/RCM). New compared with the previous piece: Balance mains and Connaissance des formes — what matters is quality of attack and evenness of tone, not speed.
Balanced
Piano Sonata D major K. 311 (284c)
Wolfgang Amadeus Mozart
close skills
moderate risk
to confirm
A real step up: this piece moves you into Intermediate (around grade 6 ABRSM/RCM). The skill that will carry the work: Connaissance des formes and Style classique — 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 F major K.332 (I)
Wolfgang Amadeus Mozart
close skills
high risk
to confirm
An ambitious leap into Intermediate (around grade 6 ABRSM/RCM) — only worth starting if the practice time is really there. The skill that will carry the work: Connaissance des formes and Indépendance des mains — understand the form and the harmony before memorising, or memory collapses the moment you play for someone.
Challenge
Sonata in D major, K.430, L.463
Domenico Scarlatti
partial transfer
high risk
to confirm
An ambitious leap into Intermediate (around grade 6 ABRSM/RCM) — only worth starting if the practice time is really there. New compared with the previous piece: Style baroque and Ornements baroque — the notes are not enough: articulation and ornaments follow performance conventions best checked in an urtext edition.
Same level
Same level
12 Variations on French Traditional: "Ah, vous dirai-je, Maman" for Piano in C major, K. 300e/265
Wolfgang Amadeus Mozart
new reflexes
low risk
to confirm
Equivalent demands, still Elementary (around grade 5 ABRSM/RCM): what changes is the ground. What changes is the skill in play: Ornements baroque and Mémorisation — ornaments must be secure before the piece goes up to tempo, otherwise they break the line instead of decorating it.
Same level
Etüde C major K. 626b/48
Wolfgang Amadeus Mozart
partial transfer
low risk
to confirm
Equivalent demands, still Elementary (around grade 5 ABRSM/RCM): what changes is the ground. What changes is the skill in play: Demi-pédale — the pedal is set by ear, note by note: misjudged, it blurs the harmony instead of joining it.
Same level
Invention No.10 in G major BWV 781
Johann Sebastian Bach
new reflexes
low risk
to confirm
Equivalent demands, still Elementary (around grade 5 ABRSM/RCM): what changes is the ground. What changes is the skill in play: Style baroque and Polyphonie à deux voix — the notes are not enough: articulation and ornaments follow performance conventions best checked in an urtext edition.
This Adagio unfolds a reserved, lyrical character with long singing phrases that require sustaining the line without weighing down the accompaniment. You will need to draw on Form Knowledge (Connaissance des formes, 3.6/5) to spot repeats and small formal transitions so you can shape phrases with measured breaths and gradual dynamic shading at cadences, and on Harmonic Analysis (Analyse harmonique, 3.6/5) to follow modulations and resolve dissonances through precise fingering and voice-leading between right and left hand. The movement belongs to Mozart's piano sonata repertoire and reflects his classical clarity of line in keyboard writing. I do not provide a reference recording here because I prefer not to name an interpreter unless I am certain of the specific recognized performance for this work.