Repertoire › 3 Easy Pieces, for cello and piano › What to play next
What to play after 3 Easy Pieces, for cello and piano ?
Paul Hindemith · difficulty 33/100

Choose your level of commitment: consolidate, move up a tier or prepare a challenge. The top-ranked cards combine difficulty, risk, shared skills and confidence.

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Gentle step

The safest next step.

Gentle
Suite Miniature, H. 192: IV. Andante
Bohuslav Martinů
39/100 +6 pts 3-6 weeks
partial transfer low risk to confirm
A short step up, staying in Elementary (around grade 4 ABRSM/RCM). New compared with the previous piece: Position du pouce and Style baroque — practise it slowly, separating left hand from bow: bow alone on open strings, then the fingering silently.
Gentle
Adagio
Stephen Tyrrell
37/100 +4 pts 3-6 weeks
partial transfer low risk to confirm
A short step up, staying in Elementary (around grade 4 ABRSM/RCM). New compared with the previous piece: Intonation (violoncelle) — practise it slowly, separating left hand from bow: bow alone on open strings, then the fingering silently.
Gentle
La Scandinavie, for cello and piano
Percy Grainger
40/100 +7 pts 4-8 weeks
close skills low risk to confirm
A short step up, staying in Elementary (around grade 4 ABRSM/RCM). New compared with the previous piece: Voix chantante and Style moderne et contemporain — the notes will be secure long before the musical line: work in whole phrases, singing the main voice.
Gentle
Grand Pot-pourri in D major, concert piece for cello and orchestra, J.64, op. 20
Carl Maria von Weber
40/100 +7 pts 4-8 weeks
partial transfer low risk to confirm
A short step up, staying in Elementary (around grade 4 ABRSM/RCM). The skill that will carry the work: Technique générale — practise it slowly, separating left hand from bow: bow alone on open strings, then the fingering silently.
Gentle
Les adieux
Wilhelm Lutz
36/100 +3 pts 3-6 weeks
partial transfer low risk to confirm
A short step up, staying in Elementary (around grade 4 ABRSM/RCM). The skill that will carry the work: Technique générale — practise it slowly, separating left hand from bow: bow alone on open strings, then the fingering silently.
Balanced step

A genuine step up, without a jolt.

Balanced
Pequena suíte for Cello and Piano, A.64
Heitor Villa-Lobos
45/100 +12 pts 8-16 weeks
close skills moderate risk to confirm
A real step up: this piece moves you into Intermediate (around grade 5 ABRSM/RCM). New compared with the previous piece: Connaissance des formes and Style moderne et contemporain — understand the form and the harmony before memorising, or memory collapses the moment you play for someone.
Balanced
Sonhar, for cello and piano, A.86
Heitor Villa-Lobos
45/100 +12 pts 8-16 weeks
close skills moderate risk to confirm
A real step up: this piece moves you into Intermediate (around grade 5 ABRSM/RCM). New compared with the previous piece: Voix chantante and Vibrato (violoncelle) — the notes will be secure long before the musical line: work in whole phrases, singing the main voice.
Balanced
Cello Concerto
Carlos Chávez
45/100 +12 pts 8-16 weeks
close skills moderate risk to confirm
A real step up: this piece moves you into Intermediate (around grade 5 ABRSM/RCM). The skill that will carry the work: Style moderne et contemporain — the notes are not enough: articulation and ornaments follow performance conventions best checked in an urtext edition.
Balanced
Sonatina for Cello and Piano
Zoltán Kodály
42/100 +9 pts 8-16 weeks
close skills moderate risk to confirm
A real step up, staying in Elementary (around grade 5 ABRSM/RCM). New compared with the previous piece: Style classique and Connaissance des formes — the notes are not enough: articulation and ornaments follow performance conventions best checked in an urtext edition.
Ambitious challenge

A useful leap with guided practice.

Challenge
Cello Sonata, op. 11, no. 3
Paul Hindemith
52/100 +19 pts 20-40 weeks
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: Legato d'archet (violoncelle) and Vibrato (violoncelle) — practise it slowly, separating left hand from bow: bow alone on open strings, then the fingering silently.
Challenge
Little Pieces, for cello and piano, op. 11
Anton Webern
50/100 +17 pts 20-40 weeks
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. New compared with the previous piece: Analyse harmonique and Style moderne et contemporain — understand the form and the harmony before memorising, or memory collapses the moment you play for someone.
Challenge
3 Pieces for Cello and Piano, op. 8
Paul Hindemith
54/100 +20 pts 20-40 weeks
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. New compared with the previous piece: Passages rapides and Connaissance des formes — practise it slowly, separating left hand from bow: bow alone on open strings, then the fingering silently.
Same level

To widen the repertoire without raising the level.

Same level
Rêverie au bord de la mer, for cello and piano
Jacques Offenbach
32/100 -1 pts 2-3 weeks
new reflexes low risk to confirm
Equivalent demands, still Elementary (around grade 3 ABRSM/RCM): what changes is the ground. What changes is the skill in play: Voix chantante and Vibrato (violoncelle) — the notes will be secure long before the musical line: work in whole phrases, singing the main voice.
Same level
Cello Sonata in G major, op. 1, no. 6
Benedetto Marcello
36/100 +2 pts 2-3 weeks
partial transfer low risk to confirm
Equivalent demands, still Elementary (around grade 4 ABRSM/RCM): what changes is the ground. What changes is the skill in play: Vibrato (violoncelle) and Connaissance des formes — what matters is a steady sustained tone: bow speed, contact point and pressure even, before any thought of speed.
Progressions computed from difficulty, skill overlap and style between works. A What do we play next? recommendation should remain a pedagogical starting point, not an automatic prescription.