Official level, taken from the exam syllabus.
Other syllabi : Trinity_London Grade 5
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 D minor sonata has a lean, driven Baroque character, alternating brisk, rhythmic figures with sharper refrains that call for crisp, detached articulation. Among the technical challenges to prepare, pay attention in particular to Ornements baroque (3.1/5), which require short, precise execution of mordents and appoggiaturas — you’ll need to refine fingering and weight distribution so these small rhythmic ornaments stay clear without interrupting the line — and to Lecture clé de fa (3.1/5), since the left hand often carries independent bass lines that must be read and played while maintaining rhythmic independence and contrapuntal clarity. As a Baroque keyboard sonata, it belongs to Scarlatti’s body of sonatas where vivid contrasts and idiomatic keyboard effects are explored. I’m not giving a reference recording here to avoid naming anything uncertain, but I can suggest reliable performances after confirming them.