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Play — 7 Pièces op. 11 (partie 1) · György Sándor (the player loads on click)
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Play — Partition défilante · opus43 (the player loads on click)
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Play — 7 Piano Pieces, Op. 11: 6. Szekely tune (Poco rubato) · Zoltán Kodály, Andrew Rangell (the player loads on click)
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Public-domain sheet music on IMSLP ↗
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 rating is computed automatically from heterogeneous sources. It gets things wrong, sometimes badly. If you know this work, your answer is worth more than our computation: it tells us which ratings to review.
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.
These 7 piano pieces project a frequently incisive, rhythmic character, alternating short biting episodes with more floating passages where accents shift abruptly, requiring precise attack and ensemble. Technically you will face, notably, Polyrhythmie 2 contre 3 (3.1/5), which demands hand independence — you must feel the 2 and 3 as concurrent pulses and align finger placements so each motif remains clear — and Legato (2.5/5), where the gesture requires controlled finger connection and pressure regulation to keep the line within sometimes disjointed textures. From the composer's modern period, these pieces are an early inventive set in his output, already revealing an interest in folk-like rhythms and distinctive harmonic colors. I do not provide a recommended recording here, since I prefer not to cite a performance unless I am certain it is a well-established reference for this specific work.