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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The safest next step.
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The Sonata in B-flat major K.228/L.399 has a bright, sprightly character, with crisp exchanges and passages where a light rhythmic drive is needed to keep the main line singing. You will face specifically Analysis harmonique (3.6/5): here you must anticipate modulations and cadences to shape breath and hand weight, and Baroque ornaments (3.1/5) which require short, precise executions (mordents and small cadences) integrated into an implied continuo rather than being excessive. As a typical Baroque piece in Scarlatti's keyboard sonata output, it belongs to his many short sonatas that explore contrasts and idiomatic keyboard technique. I do not give a performance reference because I am not 100% certain of a single widely recognized recording for this particular sonata.