Repertoire › Fantasia Ut re mi fa sol la, for keyboard, SwWV 263 › What to play next
What to play after Fantasia Ut re mi fa sol la, for keyboard, SwWV 263 ?
Jan Pieterszoon Sweelinck · difficulty 55/100

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
Il primo libro delle 12 fantasie
Girolamo Frescobaldi
60/100 +5 pts 6-12 weeks
close skills low risk to confirm
A short step up, staying in Intermediate (around grade 6 ABRSM/RCM). 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.
Gentle
Echo Fantasia in Dorian
Jan Pieterszoon Sweelinck
60/100 +5 pts 6-12 weeks
new reflexes low risk to confirm
A short step up, staying in Intermediate (around grade 6 ABRSM/RCM). New compared with the previous piece: Croisements de mains — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Gentle
Allein Gott in der Höh sei Ehr, 4 chorale variations
Jan Pieterszoon Sweelinck
60/100 +5 pts 6-12 weeks
new reflexes low risk to confirm
A short step up, staying in Intermediate (around grade 6 ABRSM/RCM). New compared with the previous piece: Connaissance des formes — understand the form and the harmony before memorising, or memory collapses the moment you play for someone.
Gentle
Fantasy C major op. 12
Pyotr Ilyich Tchaikovsky
60/100 +5 pts 5-10 weeks
close skills low risk to confirm
A short step up, staying in Intermediate (around grade 6 ABRSM/RCM). The demand here is musical rather than mechanical: Nuances — the notes will be secure long before the musical line: work in whole phrases, singing the main voice.
Gentle
Fantasia super Christ lag in Todes Banden, BWV.695
Johann Sebastian Bach
62/100 +7 pts 6-12 weeks
close skills low risk to confirm
A short step up, staying in Intermediate (around grade 7 ABRSM/RCM). 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.
Balanced step

A genuine step up, without a jolt.

Balanced
Caprice op. 3,2
Robert Schumann
66/100 +11 pts 12-24 weeks
close skills moderate risk to confirm
A real step up: this piece moves you into Advanced (around grade 7 ABRSM/RCM). The demand here is musical rather than mechanical: Phrasé — the notes will be secure long before the musical line: work in whole phrases, singing the main voice.
Balanced
Fantasia no. 3 in F, "Fantasia mit Bindungen"
Jan Pieterszoon Sweelinck
65/100 +10 pts 12-24 weeks
new reflexes moderate risk to confirm
A real step up: this piece moves you into Advanced (around grade 7 ABRSM/RCM). New compared with the previous piece: Indépendance des mains — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Balanced
Toccata no. 2 in G
Jan Pieterszoon Sweelinck
65/100 +10 pts 12-24 weeks
new reflexes moderate risk to confirm
A real step up: this piece moves you into Advanced (around grade 7 ABRSM/RCM). New compared with the previous piece: Staccato — 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
Fantasy and Sonata c minor K. 475/457
Wolfgang Amadeus Mozart
73/100 +18 pts 28-56 weeks
partial transfer high risk to confirm
An ambitious leap into Advanced (around grade 8 ABRSM/RCM) — only worth starting if the practice time is really there. New compared with the previous piece: Analyse harmonique — understand the form and the harmony before memorising, or memory collapses the moment you play for someone.
Challenge
Praeludium Toccata in A minor
Jan Pieterszoon Sweelinck
70/100 +15 pts 28-56 weeks
new reflexes moderate risk to confirm
An ambitious leap into Advanced (around grade 7 ABRSM/RCM) — only worth starting if the practice time is really there. New compared with the previous piece: Staccato — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Challenge
Fantazia op de Fuga van M: Jan Pieters, Fecit Dr. Bull 1621
Jan Pieterszoon Sweelinck
70/100 +15 pts 28-56 weeks
new reflexes moderate risk to confirm
An ambitious leap into Advanced (around grade 7 ABRSM/RCM) — only worth starting if the practice time is really there. New compared with the previous piece: 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.
Same level

To widen the repertoire without raising the level.

Same level
Mein junges Leben hat ein End, SwWV 324, variations
Jan Pieterszoon Sweelinck
55/100 same level 4-6 weeks
partial transfer low risk to confirm
Equivalent demands, still Intermediate (around grade 6 ABRSM/RCM): what changes is the ground. What changes is the skill in play: Connaissance des formes — understand the form and the harmony before memorising, or memory collapses the moment you play for someone.
Same level
Capriccio in A minor, for organ
Jan Pieterszoon Sweelinck
55/100 same level 4-6 weeks
partial transfer low risk to confirm
Equivalent demands, still Intermediate (around grade 6 ABRSM/RCM): what changes is the ground. The demand here is musical rather than mechanical: Nuances — the notes will be secure long before the musical line: work in whole phrases, singing the main voice.
Same level
Sonata in C major K.330 (I)
Wolfgang Amadeus Mozart
52/100 -3 pts 4-6 weeks
partial transfer low risk to confirm
Equivalent demands, still Intermediate (around grade 6 ABRSM/RCM): what changes is the ground. What changes is the skill in play: Connaissance des formes and Indépendance des mains — understand the form and the harmony before memorising, or memory collapses the moment you play for someone.
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.