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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.
Edward MacDowell's Amourette is a small romantic miniature that feels light and charming, with fleeting touches of nostalgia that call for a flexible, expressive approach to pacing. You will face specific technical demands: for instance Tempo rubato (3.1/5) here means making measured tempo inflections to shape phrases without upsetting the accompaniment, and Sustain pedal (3.1/5) requires precise pedaling to connect voices while avoiding blurred harmonies. From the Romantic period, this piece is among the composer's early published works and already displays his taste for lyrical miniatures within his initial output. I do not provide a reference recording because I am not 100% certain of a single widely recognized interpretation for this particular piece.