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 B-flat major sonata has a cheerful yet composed character, alternating sparkling figurations with lyrical episodes that call for clear line and a keen sense of rhythmic shaping. Technically, Connaissance des formes (3.6/5) is important to render repeats and contrasts between sections — you will need to shape phrases so returns and transitions feel logical and dynamically articulated — and Ornements baroque (3.1/5) requires a short, precise right-hand gesture, with quick controlled attacks so mordents and short notes do not cloud the melodic line. As part of Scarlatti’s keyboard output, it sits within the Baroque sonata tradition, typifying the concise, lively movements written for harpsichord. I do not provide a reference interpretation here, since I prefer not to name recordings or artists I cannot cite with full confidence for this specific sonata.