The grade scale stops at 8; this work belongs to concert or diploma repertoire.
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.
Does this rating look right to you?
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.
No suggestion yet.
Liszt’s William Tell overture feels like an orchestral charge transferred to the piano: martial drive, sharp contrasts and heroic passages that call for incisive phrasing rather than mere virtuosic display. Technically, the Tempo rubato (3.1/5) here requires fine control of time — small, measured tempo inflections in transitions to preserve momentum without breaking articulation — and the Doubles notes (2.5/5) demand rapid, independent finger attacks to keep the alternating chords clear and powerful. In the Romantic period, this piece belongs to Liszt’s practice of transcribing operatic and orchestral repertoire for piano, bringing theatrical material into the recital hall. I do not give a recommended recording because I prefer not to cite a performer unless I am fully certain of the reference.