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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The safest next step.
A genuine step up, without a jolt.
A useful leap with guided practice.
This E major sonata unfolds a buoyant, procession-like character, with brisk leaps and quick call-and-response between hands that suggest a small dancing cortège rather than grand rhetoric. Technically, Connaissance des formes (3.6/5) here means you must clearly identify and shape the sections and repeats to manage the short phrases and hand-dialogues, and Ornements baroque (3.1/5) requires executing trills and small embellishments lightly and precisely, using controlled finger attacks and a relaxed wrist so the ornaments remain agile. A work of the Baroque keyboard repertoire, it belongs to Scarlatti's numerous sonatas that emphasize virtuoso figures and rhythmic vivacity rather than extended developmental structures. I do not give a reference recording because I am not fully certain of a specific authoritative performance for this sonata.