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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This Partita in F major has a clear rhythmic and contrapuntal character: you can hear distinct voice exchanges, answering motifs and a nearly dance-like lightness in the faster movements. You will need to work on Connaissance des formes (4.1/5) by observing repeats and sectional structure — this requires shaping phrases and adjusting energy at each return so the form remains evident; and Ornements baroque (4.1/5) which call for precise fingering and controlled attacks so trills and mordents stay short and integrated into the musical line. The piece belongs to the Classical period and is part of Haydn's keyboard output that blends polyphonic writing with dance-derived forms. I will not name a reference performance here to avoid citing a specific recording without complete certainty.