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Play — Piano Sonata No. 9 in B Major, Op. 147, D. 575: I. Allegro ma non troppo · Franz Schubert, Gilbert Schuchter (the player loads on click)
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MusicCoach difficulty
69/100
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
Pedaling
Sustain pedal
1
Style
Romantic style
1
Rhythm
Tempo rubato
1
Tone
Touch control
1
Technique
Hand independence
1
Technique
Legato
1
Interpretation
Dynamics
1
Interpretation
Phrasing
1
Technique
Three-or-more-voice polyphony
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
Aprés une lecture du Dante I, fantasia quasi sonata, S.158c
Franz Liszt
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 — understand the form and the harmony before memorising, or memory collapses the moment you play for someone.
Gentle
Piano Sonata no. 12 in A flat major, op. 26
Ludwig van Beethoven
close skills
low risk
to confirm
A short step up, staying in Advanced (around grade 8 ABRSM/RCM). New compared with the previous piece: Staccato 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 B flat major op. post. D 960
Franz Schubert
close skills
moderate risk
to confirm
A real step up: this piece moves you into Great repertoire (diploma level, beyond grade 8). New compared with the previous piece: Passages rapides and Demi-pédale — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Balanced
Piano Sonata no. 17 in D major, D.850, op. 53, "Gasteiner"
Franz Schubert
close skills
moderate risk
to confirm
A real step up: this piece moves you into Great repertoire (diploma level, beyond grade 8). New compared with the previous piece: Passages rapides and Balance mains — 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
Piano Sonata in B minor S.178
Franz Liszt
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 Demi-pédale — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Challenge
Fantasie in C major
Franz Schubert
new reflexes
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. New compared with the previous piece: Passages rapides and Doigté complexe — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Same level
Same level
Impromptus Op.90 D.899
Franz Schubert
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: Passages rapides — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Same level
Ballade No.1 in G minor Op.23
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: Octaves and Connaissance des formes — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Same level
3 Klavierstücke, D.946
Franz Schubert
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: Polyphonie à deux voix — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
The Allegro ma non troppo opens with a lyrical yet buoyant character, alternating bright rhythmic figures with inward, song-like themes that require keeping the lines clear while retaining a gentle poetic flow. Technically, Connaissance des formes (3.6/5) is crucial: you must identify and shape repeats, transitions and recapitulations so phrases and cadences feel logical, which involves clear changes of intention at structural points; Tempo rubato (3.1/5) is used to model the principal voice against often steady accompaniment, requiring wrist control and hand independence to stretch or compress the local pulse without breaking the underlying rhythmic framework. This sonata belongs to Schubert's body of piano sonatas and shows his habit of placing lyrical melody into reworked classical forms. I do not provide a performance reference because I am not 100% certain of a single recording widely accepted as the definitive reference for this specific movement.