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 sonata has a sprightly, jaunty character with a perky rhythmic profile where rapid exchanges between the hands create a pointed dialogue rather than a sustained cantabile line. The main practical challenges are in Analysis of harmony (3.6/5) — you must identify quick harmonic shifts to shape accents and cadences, anticipating voice distribution and internal dynamics — and Baroque ornamentation (3.1/5), which requires precise fingering and wrist motion to execute trills and short embellishments cleanly without interrupting the flow. It belongs to Scarlatti’s body of keyboard sonatas and reflects the Baroque taste for sharp contrasts and idiomatic keyboard figurations. I do not give a recommended recording here because I am not fully certain of a single authoritative interpretation for this specific sonata.