Perhaps the most famous of Cabezón's sets, 'El Canto del Caballero' showcases exceptional motivic development. It is distinct for its structural economy and the way the theme is subtly transformed in each iteration.
At Henle 4 this is an intermediate piece that expects secure technique and real attention to phrasing. The main demands: independent voices that must each sing on their own line; fine finger independence within the hand; and precise articulation — the difference between crisp and blurred is the piece.
Beyond that, expect ornaments that need to sound effortless, not squeezed in.
Technical focus should be on the sustained voicing of the inner parts against the ornamental outer lines.
Comparable difficulty and character — good candidates for what to learn next.
A level or two down with the same spirit — ideal if this piece is still out of reach.
Where this piece's skills lead: slightly harder works making similar technical demands.
Lesser-known works by the same hand, at a comparable level.
Diferencias sobre 'El Canto del Caballero' is rated Henle level 4 of 9 — intermediate repertoire, roughly ABRSM grades 5–6. In the RCM system it corresponds to about level 8.
You should be comfortable at Henle level 4 — meaning you can already play level 3–4 pieces cleanly. Learning it one level early is possible as a stretch piece, but more than that usually leads to months of frustration.
A typical performance of Diferencias sobre 'El Canto del Caballero' lasts about 5 minutes.
Diferencias sobre 'El Canto del Caballero' is available as free public-domain sheet music on IMSLP — the score is linked directly from this page.
Pieces at a comparable difficulty and character include Differencias sobre 'El Canto del Caballero' by Antonio de Cabezón, Diferencias sobre la pavana italiana by Antonio de Cabezón, Barafostus Dreame, MB 62 by Thomas Tomkins — see the full similar-pieces list on this page.