Dotted rhythms, triplets and sixteenths, minor keys, triads and their inversions, 6/8 time, and the legato pedal.
Level 2 closes with a Level check. It asks for:
Study Schumann’s Melody in C. First compare major and minor triads with the keyboard card, then identify the chord by its root even when another chord note is lowest. Keep the left-hand broken accompaniment quiet under the melody.
Study the Aria in D minor, BWV 515. Find B flat in the signature and C sharp where the harmony calls for a raised leading note. Learn the sixteenth-note subdivision from its card before playing the written figures; then practise the D harmonic-minor scale.
Study the Polonaise in G minor, BWV Anh. 119. Reuse the harmonic-minor and sixteenth-note preparation from the previous lesson, and count the written dotted figures without shortening the long note. Distinguish the dotted-quarter/eighth model in the card from smaller dotted values in the music.
Study Le Couppey’s Study in G minor, Op. 24 No. 2, in 6/8. Count two dotted-quarter beats in each bar and keep the three eighth notes inside each beat even. Gurlitt’s Cradle Song, Op. 117 No. 17, from Level 1, and Diabelli’s duet Op. 149 No. 5 give simpler compound-pulse comparisons. In bar 16, rf (rinforzando) asks for a sudden extra weight; return at once to the dynamic around it; the acciaccatura card shows the crushed grace note you will meet in later pieces.
Study Schumann’s Melody, Op. 68 No. 1, in C, and hear the three chords that carry its tune: the tonic, C, in bar 1; the dominant seventh, G–B–D–F, in bar 2; and the subdominant, F, in bars 7, 11, 15 and 19. At the keyboard: play I–IV–V7–I from chord symbols.
Study Burgmüller’s La pastorale, Op. 100 No. 3, in G and 6/8: a dolce cantabile melody over left-hand chords that change from bar to bar. Practise finger connection without pedal first, then use the written keyboard model to change pedal just after each new chord, and listen for the old harmony clearing without breaking the line. The plagal-cadence card adds the IV–I close, the “Amen” of hymns. Pedal timing and resonance are judged by your ear, not certified by the app.
Study Burgmüller’s Tendre fleur, Op. 100 No. 10, in D. Read its words before you play: delicato (bar 1), the crescendo and diminuendo hairpins of bars 5–6 and 9–12, “dim. e poco rall.” (softer and a little slower) at the end of each phrase (bars 7, 15 and 23), and a tempo, back to the first speed, in bar 17.
Study the first four bars of Czerny’s Op. 599 No. 15 in C: right-hand triplets lead to longer notes at the cadence, while the left hand holds the bass and answers with quarter-note chords. Count “one-and-a, two-and-a” and keep each triplet even, then compare a triplet with two even notes per beat at the keyboard. In the right hand of bars 5–8 of Mozart’s Minuet in F, K. 2, compare ordinary eighths with the triplet in bar 7 without changing the pulse.
Study bars 7–8 of a Swedish folk dance in F from Olof Åhlström’s keyboard collection of 1814 (Traditioner af Swenska Folk-Dansar, part 1 No. 9), in 3/4. The second beat of bar 8 has four even sixteenth notes: keep them even and land on the next beat in time. The core alternative is the right hand of bars 7–14 of Burgmüller’s La bergeronnette, where pairs of sixteenths combine with eighth notes. The first eight bars of Douce plainte, with running sixteenths passing between the hands, remain an optional stretch/Library extension, not an equal core substitute or required lesson work. At the keyboard: play four even sixteenth notes to each quarter-note beat.
Play the Primo of Diabelli’s Scherzo and Trio, Op. 149 No. 6, with the app playing Secondo. The Scherzo in C ends at Fine (bar 32); the Trio, in C minor, follows; Da Capo al Fine (bar 48) sends you back to the opening to end at Fine. Compare that return with the minuet-and-trio plan in the card, then prepare a complete performance.
10 Musicianship units, one beside each lesson and in the same order. A unit is done when its theory questions are answered right and its ear, rhythm and keyboard tasks have passed; the reading test and unseen pieces are the Reading part.
Hear a triad in root position or inverted, read rests between eighths, and play I–V7–I.
Echo a melody in a minor key, read four sixteenths in a beat, and play I–V7–I in D minor.
Tap back dotted rhythms, read the dotted quarter and its eighth, and play them without shortening the long note.
Hear intervals of the major scale up or down, read two beats of three eighths in 6/8, and play a compound rhythm.
Play the bass of I, IV and V, read dotted rhythms over a held bass, and play a three-chord accompaniment.
Hear whether a triad of the key is major or minor, read ties with dotted notes, and change pedal after the chord.
Play the bass of cadences with inverted chords, read at a faster tempo, and play a phrase at two tempos.
Echo melodies up to the dominant with dotted notes, read triplet eighths, and play two and three notes to a beat.
Tap back rhythms in 6/8, read even sixteenths over the beat, and play four even sixteenths to a beat.
Echo a minuet phrase in three beats, read Level 2's rhythms together, and play a minuet with its trio.
Also in the guide: the repertoire, the technique ladder and the glossary.
In Musalea each lesson runs step by step, and after every run the app tells you what to fix: the bar, the hand and how to practise it.
14 practice days · everything unlocked · no card