Estimated from our difficulty score, not taken from an exam syllabus. Checked against 333 works on the ABRSM syllabus: the exact grade is right 7 times out of 10, and within one grade 99 times out of 100.
Difficulty estimate by MusicCoach on a scale of 1 to 100.
Most works cluster between 45 and 65: a small score gap often marks a real step. The highlighted bar shows this work among those for the same instrument.
The MusicCoach difficulty measures a work's overall demands (technique, reading, stamina) on a shared 0-100 scale, consolidated from editorial and pedagogical reference points (Henle, exam syllabuses, curation) and our own analyses. It measures neither musical value nor the practice time YOU will need: two musicians of the same level can experience the same work very differently depending on their strengths (hands used to octaves, quick sight-reading…). The confidence reflects how many reference points sit behind the score and how well they agree — a lightly documented score is flagged “to validate”. For a truly personal bearing, the diagnostic and your space compare each work to YOUR estimated level, which the score alone cannot do.
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Each suggestion combines difficulty gap, risk, confidence and skill overlap. The first two cards in each column are the most useful pedagogically.
The safest next step.
A genuine step up, without a jolt.
A useful leap with guided practice.
This C major sonata feels bright and nimble, built from short motifs and call-and-response figures that require crisp articulation to keep the forward drive without heaviness. You will notably face Harmonic analysis (3.6/5) and Phrasing (2.5/5): harmonic analysis here means quickly identifying chord progressions and cadences to shape voicings and left-hand inversions, while phrasing requires precise legato and micro-dynamic control to sculpt the replies and small phrases, often at a lively tempo. Situated in the Classical period, this little sonata reflects Haydn's clear formal design and fondness for thematic variation typical of his keyboard works, often intended for teaching and domestic performance. I do not provide a reference interpretation because I am not fully certain of a single widely recognized recording for this specific piece.