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 three miniatures convey a brightly colored, sparkling character, like flashes of birds and butterflies where short motifs and shifting harmonies emphasize timbre and movement rather than large-scale argument. Technically, you will face the 2-against-3 polyrhythm (3.1/5), which here requires precise hand independence — keeping a steady duple pulse in one hand while grouping the other into triplets, using finger allocation and subtle wrist adjustment to preserve both pulses without blurring — and Phrase shaping (2.5/5), which calls for connecting short melodic cells with controlled touch and finger legato so the motifs sing despite their brevity. The piece belongs to the modern period and fits among the composer's piano miniatures, short character pieces that probe color and motion more than formal development. I do not give a recommended reference recording because I am not fully certain of a specific definitive performance for these pieces.