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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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.
The mood of these pieces is airy and ironic, built from simple motifs that call for clear articulation rather than virtuosic display, with moments where the composer's tongue-in-cheek personality shows through subtle rhythmic inflections. You will need to work specifically on Tempo rubato (3.1/5): here it means slightly stretching or compressing motives without losing the underlying pulse, which requires fine control of the wrist and forearm to lengthen or shorten values without breaking the line; and on Sustain pedal (Pédale de sustain) (3.1/5): you must balance pedal use to connect certain resonances between the two players without blurring details, synchronizing releases and changes with your partner. These pieces belong to the late 19th-century repertoire and hold a peculiar place in the composer's output, leaning on miniature forms and genre-play. I do not provide a reference performance here because I am not confident enough to recommend a specific recording without risk of error.