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.
This movement has a bright classical character: clear alternation between singing episodes and lively figurations, with concise phrasing and dynamic contrasts that require clean articulation. Technically, two aspects stand out: Analyse harmonique (3.6/5) — you will need to spot and anticipate small modulations and cadences to shape lines and prepare resolutions through adjusted touch and note finish; Connaissance des formes (3.6/5) — you must articulate exposition, development and return clearly, managing breath and voice balance at transition points. The piece belongs to the Classical period and appears among the appendix works in Mozart's catalogue (K. Anh.), rather than among his major mature sonatas. I do not suggest a reference recording here because I am not 100% certain of a widely recognized definitive interpretation for this specific movement.