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 Brahmsliebewalzer for piano has the feel of an introspective waltz, where the dance is restrained and shaped by displaced accents and breathing pauses that create a contained nostalgia rather than overt cheerfulness. The main technical issues are Phrasing (2.5/5) and Legato (2.5/5): you will need to shape short melodic lines by managing attack and note length to bring out interjected motifs, and maintain a smooth connection between chords and passing notes by coordinating fingering with wrist support. It is a contemporary piece by Wolfgang Rihm; the exact place of the work in his catalogue is not specified in the provided information. I do not give a reference interpretation because I cannot confidently identify a specific recording for this piece.