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.
The piece feels bright and martial, with punchy accents and ensemble passages that require drive without sounding crude. You will specifically work on Tempo rubato (3.1/5) — here it means adjusting tiny shifts in pace to shape melodic gestures while preserving the forward motion — and Sustain pedal (3.1/5), which requires judicious pedaling to connect harmonies without muddying the percussive attacks; these demands call for confident hands and close coordination between the two players. Placed in the Romantic period, this four‑hand transcription belongs among Liszt’s efforts to translate operatic color and drama to the piano. I do not give recording recommendations here because I am not fully confident naming a definitive interpretation for this exact piece.