Repertoire › Sonate no 12 op. 26 : III. Marcia funebre sulla morte d'un eroe › What to play next
What to play after Sonate no 12 op. 26 : III. Marcia funebre sulla morte d'un eroe ?
Ludwig van Beethoven · difficulty 62/100

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 in E flat major, D.568, op. posth.122
Franz Schubert
67/100 +6 pts 6-12 weeks
close skills low risk to confirm
A short step up — but it is the one that moves you into Advanced (around grade 7 ABRSM/RCM). New compared with the previous piece: Style classique and Polyphonie à trois voix ou plus — the notes are not enough: articulation and ornaments follow performance conventions best checked in an urtext edition.
Gentle
Piano Sonata no. 13 in A major, D.664, op. 120
Franz Schubert
69/100 +7 pts 6-12 weeks
close skills low risk to confirm
A short step up — but it is the one that moves you into Advanced (around grade 7 ABRSM/RCM). 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.
Gentle
Piano Sonata no. 7 in D major, op. 10 no. 3
Ludwig van Beethoven
65/100 +3 pts 6-12 weeks
close skills low risk to confirm
A short step up — but it is the one that moves you into Advanced (around grade 7 ABRSM/RCM). The skill that will carry the work: Connaissance des formes — understand the form and the harmony before memorising, or memory collapses the moment you play for someone.
Gentle
Sonata-fantasie in G minor
Alexander Scriabin
65/100 +3 pts 6-12 weeks
close skills low risk to confirm
A short step up — but it is the one that moves you into Advanced (around grade 7 ABRSM/RCM). The skill that will carry the work: Connaissance des formes and Demi-pédale — understand the form and the harmony before memorising, or memory collapses the moment you play for someone.
Balanced step

A genuine step up, without a jolt.

Balanced
Piano Sonata no. 24 in F sharp major, op. 78
Ludwig van Beethoven
73/100 +11 pts 14-28 weeks
close skills moderate risk to confirm
A real step up: this piece moves you into Advanced (around grade 8 ABRSM/RCM). The skill that will carry the work: Connaissance des formes — understand the form and the harmony before memorising, or memory collapses the moment you play for someone.
Balanced
Piano Sonata no. 4 in A minor, D.537, op. posth.164
Franz Schubert
71/100 +9 pts 14-28 weeks
close skills moderate risk to confirm
A real step up: this piece moves you into Advanced (around grade 8 ABRSM/RCM). The skill that will carry the work: Connaissance des formes — understand the form and the harmony before memorising, or memory collapses the moment you play for someone.
Balanced
Piano Sonata no. 12 in A flat major, op. 26
Ludwig van Beethoven
75/100 +13 pts 14-28 weeks
close skills moderate risk to confirm
A real step up: this piece moves you into Advanced (around grade 8 ABRSM/RCM). The skill that will carry the work: Connaissance des formes and Staccato — understand the form and the harmony before memorising, or memory collapses the moment you play for someone.
Balanced
Piano Sonata no. 14 in A minor, D.784, op. posth.143
Franz Schubert
76/100 +14 pts 14-28 weeks
close skills moderate risk to confirm
A real step up: this piece moves you into Advanced (around grade 8 ABRSM/RCM). 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.
Ambitious challenge

A useful leap with guided practice.

Challenge
Piano Sonata no. 4 in E flat major, op. 7
Ludwig van Beethoven
78/100 +16 pts 28-56 weeks
close skills 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: 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
Piano Sonata no. 17 in D major, D.850, op. 53, "Gasteiner"
Franz Schubert
82/100 +20 pts 32-64 weeks
close skills high risk to confirm
An ambitious leap into Great repertoire (diploma level, beyond grade 8) — only worth starting if the practice time is really there. New compared with the previous piece: Passages rapides and Balance mains — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Challenge
Piano Sonata no. 28 in A major, op. 101
Ludwig van Beethoven
83/100 +21 pts 32-64 weeks
close skills high risk to confirm
An ambitious leap into Great repertoire (diploma level, beyond grade 8) — 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.
Same level

To widen the repertoire without raising the level.

Same level
Rêverie L.68
Claude Debussy
61/100 -1 pts 4-7 weeks
partial transfer low risk to confirm
Equivalent demands, still Intermediate (around grade 7 ABRSM/RCM): what changes is the ground. What changes is the skill in play: Voix chantante — the notes will be secure long before the musical line: work in whole phrases, singing the main voice.
Same level
Bagatelles, op. 126
Ludwig van Beethoven
63/100 +1 pts 4-7 weeks
partial transfer low risk to confirm
Equivalent demands, still Intermediate (around grade 7 ABRSM/RCM): what changes is the ground. The demand here is musical rather than mechanical: Tempo rubato — the pitfall is the pulse drifting as soon as the writing thickens: subdivide with the metronome.
Same level
Fugue in D major, WoO 31
Ludwig van Beethoven
60/100 -2 pts 4-7 weeks
close skills 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: 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.
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.