Repertoire › Sonata for Piano no. 1 in C major, op. 1: IV. Finale. Allegro con fuoco › What to play next
What to play after Sonata for Piano no. 1 in C major, op. 1: IV. Finale. Allegro con fuoco ?
Johannes Brahms · difficulty 82/100

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. 6 in G major, op. 62
Alexander Scriabin
86/100 +5 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: Octaves and Connaissance des formes — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Gentle
Variations on a Theme by Paganini, op. 35
Johannes Brahms
87/100 +5 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: Voix chantante and Trilles — the notes will be secure long before the musical line: work in whole phrases, singing the main voice.
Gentle
Piano Sonata no. 31 in A flat major, op. 110
Ludwig van Beethoven
86/100 +5 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: 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. 30 in E major, op. 109
Ludwig van Beethoven
85/100 +4 pts 8-16 weeks
close skills low risk to confirm
A short step up, staying in Great repertoire (diploma level, beyond grade 8). 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.
Gentle
Piano Sonata no. 3 in F minor, op. 5
Johannes Brahms
88/100 +6 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. 32 in C minor, op. 111
Ludwig van Beethoven
92/100 +11 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
Piano Sonata no. 2 in B flat minor, op. 36
Sergei Rachmaninoff
91/100 +9 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
Piano Sonata no. 8 in A major, op. 66
Alexander Scriabin
91/100 +9 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: Connaissance des formes — understand the form and the harmony before memorising, or memory collapses the moment you play for someone.
Ambitious challenge

A useful leap with guided practice.

Challenge
Ab irato, S.143, "The Perfect Etude"
Franz Liszt
100/100 +18 pts 40-80 weeks
partial transfer high 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
Fantasy and Fugue on the Chorale Ad nos, ad salutarem undam, S.624, R.314
Franz Liszt
98/100 +16 pts 36-72 weeks
close skills high 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: 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.
Challenge
Sonata in G major, K.455, L.209
Domenico Scarlatti
98/100 +16 pts 36-72 weeks
partial transfer high 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.
Same level

To widen the repertoire without raising the level.

Same level
Ballade no. 4 in F minor, op. 52
Frédéric Chopin
82/100 +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: Octaves — practise it slowly and hands separately before any attempt at tempo: that is where tension builds up.
Same level
Polonaise no. 6 in A flat major, op. 53, "Heroic"
Frédéric Chopin
84/100 +2 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
Variations on a Theme by Handel Op.24
Johannes Brahms
84/100 +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: Demi-pédale and Connaissance des formes — 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.