Repertoire › Piano Sonata in E flat minor › What to play next
What to play after Piano Sonata in E flat minor ?
Alexander Scriabin · difficulty 85/100

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
Piano Sonata no. 1 in F sharp minor, op. 11, "Grand Sonata"
Robert Schumann
89/100 +4 pts 8-16 weeks
close skills low risk to confirm
A short step up, staying in Great repertoire (diploma level, beyond grade 8). The skill that will carry the work: Connaissance des formes and Polyphonie à trois voix ou plus — understand the form and the harmony before memorising, or memory collapses the moment you play for someone.
Gentle
Piano Sonata no. 2 in B flat minor, op. 36
Sergei Rachmaninoff
91/100 +6 pts 9-18 weeks
close skills low risk to confirm
A short step up, staying in Great repertoire (diploma level, beyond grade 8). 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 no. 3 in B minor, op. 58
Frédéric Chopin
91/100 +6 pts 9-18 weeks
close skills low risk to confirm
A short step up, staying in Great repertoire (diploma level, beyond grade 8). 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
Piano Sonata no. 9 in F, op. 68, "Black Mass"
Alexander Scriabin
92/100 +7 pts 9-18 weeks
close skills low risk to confirm
A short step up, staying in Great repertoire (diploma level, beyond grade 8). New compared with the previous piece: Polyphonie à deux voix and Connaissance des formes — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Gentle
Piano Sonata no. 7 in F sharp major, op. 64, "White Mass"
Alexander Scriabin
88/100 +3 pts 8-16 weeks
close skills low risk to confirm
A short step up, staying in Great repertoire (diploma level, beyond grade 8). 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.
Balanced step

A genuine step up, without a jolt.

Balanced
Piano Sonata no. 29 in B flat major, op. 106, "Hammerklavier"
Ludwig van Beethoven
95/100 +10 pts 18-36 weeks
close skills moderate risk to confirm
A real step up, staying in Great repertoire (diploma level, beyond grade 8). 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.
Balanced
Fantasy and Fugue on the chorale 'Ad nos, ad salutarem undam', S.259
Franz Liszt
95/100 +10 pts 18-36 weeks
close skills moderate risk to confirm
A real step up, staying in Great repertoire (diploma level, beyond grade 8). The skill that will carry the work: Analyse harmonique and Polyphonie à trois voix ou plus — understand the form and the harmony before memorising, or memory collapses the moment you play for someone.
Balanced
Piano Sonata no. 10 in C, op. 70, "Trill"
Alexander Scriabin
93/100 +8 pts 18-36 weeks
close skills moderate risk to confirm
A real step up, staying in Great repertoire (diploma level, beyond grade 8). New compared with the previous piece: Passages rapides and Ornements romantiques — 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
Ab irato, S.143, "The Perfect Etude"
Franz Liszt
100/100 +15 pts 40-80 weeks
partial transfer moderate risk to confirm
An ambitious leap while staying in Great repertoire (diploma level, beyond grade 8) — only worth starting if the practice time is really there. New compared with the previous piece: Gammes et arpèges and Demi-pédale — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Challenge
Sonata in G major, K.471, L.82
Domenico Scarlatti
100/100 +15 pts 40-80 weeks
partial transfer moderate risk to confirm
An ambitious leap while staying in Great repertoire (diploma level, beyond grade 8) — 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.
Challenge
A.r.
Iannis Xenakis
100/100 +15 pts 40-80 weeks
new reflexes moderate risk to confirm
An ambitious leap while staying in Great repertoire (diploma level, beyond grade 8) — only worth starting if the practice time is really there. The skill that will carry the work: Technique générale — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Same level

To widen the repertoire without raising the level.

Same level
Polonaise no. 6 in A flat major, op. 53, "Heroic"
Frédéric Chopin
84/100 -1 pts 6-9 weeks
partial transfer low risk to confirm
Equivalent demands, still Great repertoire (diploma level, beyond grade 8): what changes is the ground. What changes is the skill in play: Rythmes pointés and Passages rapides — the pitfall is the pulse drifting as soon as the writing thickens: subdivide with the metronome.
Same level
Concert Etudes on Caprices by Paganini, op. 10
Robert Schumann
84/100 -1 pts 6-9 weeks
partial transfer low risk to confirm
Equivalent demands, still Great repertoire (diploma level, beyond grade 8): 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. 4 in F minor, op. 52
Frédéric Chopin
82/100 -3 pts 6-9 weeks
partial transfer low risk to confirm
Equivalent demands, still Great repertoire (diploma level, beyond grade 8): what changes is the ground. What changes is the skill in play: Octaves — 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.