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.
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.
These Six Pieces move between jaunty, sharply articulated moments and hazy, floating episodes, producing an atmosphere that alternates between playfulness and misty introspection where motifs interweave continuously. You will need to tackle specifically the Polyrhythm 2 against 3 (3.1/5) — concretely this means keeping a steady binary pulse in one hand while the other articulates ternary groupings, each hand locked into its own rhythmic engine — and the Impressionistic style (3.1/5), which requires a lighter touch and very careful pedaling to color harmonies without blurring the line. The set belongs to Prokofiev’s modern period and functions as a group of piano miniatures comparable to other small collections he composed after his larger orchestral works. I do not give a recommended recording here because I am not completely certain of a single widely recognized reference for this particular set.