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 A major sonata by Scarlatti feels lively and sprightly, driven by repeating figures and call-and-response writing between the hands that create a playful, jumping motion. Technically, you will need to use Analysis harmonique (3.6/5) to anticipate chordal shifts and shape phrasing and legato around cadences, and work on Ornements baroque (3.1/5) to execute trills and mordents cleanly and stylistically, which requires precise fingers and short, controlled attacks rather than excessive wrist motion. The piece belongs to the Baroque period and is part of Scarlatti’s keyboard sonata repertoire, written to showcase agility and clear contrapuntal textures. I do not give a reference recording here because I am not fully certain of a single definitive interpretation for this specific sonata.