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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This rating is computed automatically from heterogeneous sources. It gets things wrong, sometimes badly. If you know this work, your answer is worth more than our computation: it tells us which ratings to review.
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 D major sonata opens with a lively, upbeat character but requires crisp articulation to preserve the lightness and clarity of the quick exchanges between the hands. The skill “Connaissance des formes (3.6/5)” means you must clearly shape and balance the two main sections and their repeats so the formal phrasing remains audible, and “Ornements baroque (3.1/5)” requires executing trills, appoggiaturas and mordents with clean finger action and controlled duration so they support the dance-like pulse rather than weigh it down. As a Baroque keyboard sonata, it belongs to Scarlatti's series of single-movement/short binary sonatas that highlight sharp contrasts and surprising harmonic turns. I do not list a reference interpretation here unless you want me to look up confirmed recordings.