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 minuet in D minor feels dance-like yet restrained, alternating light figurations with more sustained passages that require clear articulation to retain the dance’s forward motion without heaviness. You will notably face the Ornements baroque (3.1/5) — here you must deliver short, clean embellishments (brief trills, mordents, appoggiaturas) with secure fingering and a clear separation between the main note and its ornament — and the Lecture clé de fa (3.1/5), which requires precise left-hand placement, fluent reading of the bass-clef lines and handling of cross-staff or ledger notes without losing the pulse. The piece belongs to the Baroque period and fits among Purcell’s keyboard dance pieces, reflecting his contribution to the repertoire of small instrumental dances.