Repertoire › Sonata in D minor, K.18, L.416 › What to play next
What to play after Sonata in D minor, K.18, L.416 ?
Domenico Scarlatti · difficulty 42/100

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
Sonata in E major, K.380, L.23, "Cortège"
Domenico Scarlatti
46/100 +4 pts 4-8 weeks
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: Passages rapides and Connaissance des formes — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Gentle
Sonata in B minor, K.27, L.449
Domenico Scarlatti
49/100 +7 pts 4-8 weeks
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: Connaissance des formes and Ornements baroque — understand the form and the harmony before memorising, or memory collapses the moment you play for someone.
Gentle
Harpsichord Sonata in G minor, SF.737b
Benedetto Marcello
45/100 +3 pts 4-8 weeks
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: Demi-pédale and Connaissance des formes — the pedal is set by ear, note by note: misjudged, it blurs the harmony instead of joining it.
Gentle
Harpsichord Sonata in D minor, SF. 721a
Benedetto Marcello
45/100 +3 pts 4-8 weeks
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: Demi-pédale and Connaissance des formes — 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
Sonata in F minor, K.466, L.118
Domenico Scarlatti
54/100 +12 pts 10-20 weeks
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: Octaves and Connaissance des formes — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Balanced
Sonata with double keys in G minor, HWV.579
George Frideric Handel
52/100 +10 pts 10-20 weeks
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: Passages rapides and Demi-pédale — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Balanced
Suite in A minor, BWV.818
Johann Sebastian Bach
52/100 +10 pts 10-20 weeks
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: Polyphonie à deux voix and Style baroque — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Balanced
Sonata in D major, K.415, L.S11
Domenico Scarlatti
51/100 +9 pts 10-20 weeks
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: Demi-pédale and Connaissance des formes — 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
Sonata in D major, K.29, L.461
Domenico Scarlatti
61/100 +19 pts 24-48 weeks
close skills high risk to confirm
An ambitious leap into Intermediate (around grade 7 ABRSM/RCM) — only worth starting if the practice time is really there. 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.
Challenge
Harpsichord Sonata in D major, BWV.963
Johann Sebastian Bach
58/100 +16 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. The skill that will carry the work: Connaissance des formes and Style baroque — 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
57/100 +15 pts 20-40 weeks
close skills moderate 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 Style baroque — understand the form and the harmony before memorising, or memory collapses the moment you play for someone.
Same level

To widen the repertoire without raising the level.

Same level
Prelude in F major, BWV.928
Johann Sebastian Bach
40/100 -2 pts 3-4 weeks
partial transfer low risk to confirm
Equivalent demands, still Elementary (around grade 5 ABRSM/RCM): what changes is the ground. The skill that will carry the work: Style baroque and Ornements baroque — the notes are not enough: articulation and ornaments follow performance conventions best checked in an urtext edition.
Same level
Fugue in C major, BWV.952
Johann Sebastian Bach
40/100 -2 pts 3-4 weeks
close skills 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: 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
10 Magnificat Fugues in the Third Tone, T.134-144
Johann Pachelbel
40/100 -2 pts 3-4 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: Polyphonie à trois voix ou plus and Style baroque — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
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.