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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.
These two pieces after Lohengrin and Tannhäuser require a heroic yet intimate singing quality, with broad harmonies and lyrical climbs that need to breathe without becoming overly theatrical. You will need to focus on Tempo rubato (3.1/5) — here that means shaping phrase timing with slight anticipations and delays in the right hand while preserving the underlying pulse — and on the Pedal sustain (3.1/5), which demands precise releases and often half-pedaling to keep the harmonic texture clear without blurring the voices. These transcriptions belong to the Romantic period and are part of Liszt’s catalog of operatic paraphrases and piano adaptations that showcase both virtuosity and cantabile playing. I do not give a specific recommended recording because I am not fully certain of a single definitive interpretation for these particular pieces.