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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 piece projects a bright, playful energy with clipped phrases and responsive syncopations that feel like a light dance-hall tune rather than an intimate reverie. You will specifically face managing the Tempo rubato (3.1/5), which here requires small rhythmic flexibilities on transitional phrases without breaking the forward drive, and handling the Syncopes (2.5/5), where you must precisely lengthen or detach certain notes between right and left hands to keep the dance while highlighting the melody. It belongs to Scott Joplin's ragtime output, characteristic of the turn-of-the-century repertoire for solo piano that helped define the genre. I do not give a recommended reference recording because I am not fully certain of a single widely recognized definitive performance for this piece.