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 C major sonata feels bright and sprightly, with sudden leaps and echoed figures that make it more percussive and playful than purely lyrical. You will need to work on Connaissance des formes (3.6/5): map out the repeated modules and small thematic cells so you can shape phrases and distribute tension across the binary form; and Ornements baroque (3.1/5): practice delivering short, clean appoggiaturas and trills so ornaments clarify and enhance the line without obscuring the rapid hand exchanges. From a factual standpoint, the piece belongs to the Baroque period and is one of Scarlatti's many keyboard sonatas that experiment with virtuosic effects and idiomatic keyboard writing. I do not give a reference interpretation here because I am not 100% certain of a specific recording for this exact sonata.