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 variation on a Diabelli waltz has a dance-like, distinctly galant character, with crisp accents and small rhythmic breaks that call for lightness rather than weight. On the technical side you will need to work on Phrasing (3.9/5) — here that means shaping each short phrase with dynamic inflection and a controlled wrist legato so motifs remain singing — and Knowledge of forms (3.8/5), because clearly identifying the variation structure lets you anticipate cadences and adjust timing across transitions. The piece belongs to the Romantic period and illustrates how Hummel extends classical variation technique while introducing more lyrical colors typical of the nineteenth century. I do not give a recommended recording for this specific piece unless I can name one with complete confidence.