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.
This piece has a contemplative, reflective mood, with pauses and small inflections that call for letting each motif breathe rather than driving the momentum. You will need to work particularly on Tempo rubato (3.1/5) — here that means subtly shaping pulses within phrases to create fine breaths without losing the harmonic line — and on Pédale de sustain (3.1/5), which requires precise, discreet use to connect harmonic colors without blurring attacks. Listed here as from the romantic period, it occupies an intimate place in the composer's output, closer to chamber-like atmospheres than large-scale orchestral works. I will not suggest a specific reference recording because I do not have a reliably identified interpretation for this exact piece.