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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 Valse-Ballet feels like a light, slightly off-kilter dance, alternating sketchy figures with sudden accents that require attention to articulation and rhythmic irony rather than broad lyricism. Technically, the main challenges are Tempo rubato (3.9/5) — you will need to fine-tune measure lengths without losing the waltz's forward motion, using subtle wrist releases or anticipations — and Phrasing (3.9/5), which calls for clear articulation of short motifs through incisive finger work and controlled key contact to bring out each brief phrase. According to the provided information, the piece is placed in a so-called romantic period and appears as a solo piano piece in the composer’s output, playing with waltz conventions while adding a personal twist. I do not list any reference recordings because I am not sufficiently certain about a single widely recognized interpretation for this specific work.