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.
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This E major sonata projects a bright, playful energy, with quick exchanges between the hands and small harmonic surprises that make it feel sprightly rather than lyrical. Technically, note the Analysis harmonique (3.6/5): here you must anticipate chord progressions and shape cadences so the answers and modulating passages emerge clearly, and the Lecture clé de fa (3.1/5) because the left hand often carries independent bass lines with sharp leaps that need precise reading and articulation. It belongs to Scarlatti's keyboard output from the Baroque period, typical of short, virtuosic sonatas that exploit binary form and contrast while highlighting right-hand figurations and ornamentation. I do not provide a performance reference here because I am not 100% certain of a single authoritative recording for this specific sonata.