Repertoire › Rêverie au bord de la mer, for cello and piano › What to play next
What to play after Rêverie au bord de la mer, for cello and piano ?
Jacques Offenbach · difficulty 32/100

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
Assai tranquillo, for cello and piano
Felix Mendelssohn
36/100 +4 pts 3-6 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: Ornements romantiques and Voix chantante — ornaments must be secure before the piece goes up to tempo, otherwise they break the line instead of decorating it.
Gentle
Chants du soir, 6 serenades for cello and piano
Jacques Offenbach
38/100 +6 pts 3-6 weeks
close skills low risk to confirm
A short step up, staying in Elementary (around grade 4 ABRSM/RCM). The skill that will carry the work: Voix chantante and Vibrato (violoncelle) — the notes will be secure long before the musical line: work in whole phrases, singing the main voice.
Gentle
Une Larme, for cello and piano
Modest Mussorgsky
38/100 +6 pts 3-6 weeks
close skills low risk to confirm
A short step up, staying in Elementary (around grade 4 ABRSM/RCM). The skill that will carry the work: Voix chantante and Vibrato (violoncelle) — the notes will be secure long before the musical line: work in whole phrases, singing the main voice.
Gentle
Musette, Air de ballet du 17eme siecle, for cello and orchestra, op. 24
Jacques Offenbach
35/100 +3 pts 3-6 weeks
partial transfer low risk to confirm
A short step up, staying in Elementary (around grade 4 ABRSM/RCM). The demand here is musical rather than mechanical: Pédale de sustain — the pedal is set by ear, note by note: misjudged, it blurs the harmony instead of joining it.
Balanced step

A genuine step up, without a jolt.

Balanced
Berceuse, for cello and piano, A.88
Heitor Villa-Lobos
43/100 +11 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 moderne et contemporain and Legato d'archet (violoncelle) — the notes are not enough: articulation and ornaments follow performance conventions best checked in an urtext edition.
Balanced
Romance no. 1 for Cello and Orchestra in D minor, op. 243
Johann Strauss Jr
42/100 +10 pts 8-16 weeks
close skills moderate risk to confirm
A real step up, staying in Elementary (around grade 5 ABRSM/RCM). The skill that will carry the work: Voix chantante — the notes will be secure long before the musical line: work in whole phrases, singing the main voice.
Balanced
Romance, for cello and piano, op. 69
Gabriel Fauré
42/100 +10 pts 8-16 weeks
close skills moderate risk to confirm
A real step up, staying in Elementary (around grade 5 ABRSM/RCM). The skill that will carry the work: Vibrato (violoncelle) and Legato d'archet (violoncelle) — what matters is a steady sustained tone: bow speed, contact point and pressure even, before any thought of speed.
Balanced
Serenade, for cello and orchestra, op. 37
Nikolai Rimsky-Korsakov
40/100 +8 pts 8-16 weeks
partial transfer moderate risk to confirm
A real step up, staying in Elementary (around grade 4 ABRSM/RCM). The demand here is musical rather than mechanical: Pédale de sustain — the pedal is set by ear, note by note: misjudged, it blurs the harmony instead of joining it.
Ambitious challenge

A useful leap with guided practice.

Challenge
Serenade, for cello and piano
Francis Poulenc
49/100 +17 pts 16-32 weeks
partial transfer high risk to confirm
An ambitious leap into Intermediate (around grade 5 ABRSM/RCM) — only worth starting if the practice time is really there. New compared with the previous piece: Style moderne et contemporain — the notes are not enough: articulation and ornaments follow performance conventions best checked in an urtext edition.
Challenge
Danse bohémienne, for cello and piano, op. 28
Jacques Offenbach
48/100 +16 pts 16-32 weeks
partial transfer high risk to confirm
An ambitious leap into Intermediate (around grade 5 ABRSM/RCM) — only worth starting if the practice time is really there. New compared with the previous piece: Rythmes pointés and Détaché (violoncelle) — the pitfall is the pulse drifting as soon as the writing thickens: subdivide with the metronome.
Challenge
Kleine Romanze for cello and piano, op. 79e/2
Max Reger
48/100 +16 pts 16-32 weeks
close skills high risk to confirm
An ambitious leap into Intermediate (around grade 5 ABRSM/RCM) — only worth starting if the practice time is really there. The skill that will carry the work: Voix chantante — the notes will be secure long before the musical line: work in whole phrases, singing the main voice.
Same level

To widen the repertoire without raising the level.

Same level
3 Easy Pieces, for cello and piano
Paul Hindemith
33/100 +1 pts 2-3 weeks
new reflexes 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: Style moderne et contemporain — the notes are not enough: articulation and ornaments follow performance conventions best checked in an urtext edition.
Same level
Les larmes de Jacqueline, for cello and orchestra
Jacques Offenbach
30/100 -2 pts 2-3 weeks
close skills low risk to confirm
Equivalent demands, still Elementary (around grade 3 ABRSM/RCM): what changes is the ground. The demand here is musical rather than mechanical: Pédale de sustain — the pedal is set by ear, note by note: misjudged, it blurs the harmony instead of joining it.
Same level
Musette, Air de ballet du 17eme siecle, for cello and orchestra, op. 24
Jacques Offenbach
35/100 +3 pts 2-3 weeks
partial transfer low risk to confirm
Equivalent demands, still Elementary (around grade 4 ABRSM/RCM): what changes is the ground. The demand here is musical rather than mechanical: Pédale de sustain — the pedal is set by ear, note by note: misjudged, it blurs the harmony instead of joining it.
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.