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 F major sonata feels bright and playful, with sprightly figures and quick responses that require crisp articulation and light detaché to keep the dance-like pulse without weighing down the line. The main technical challenges lie in Connaissance des formes (3.6/5): you must clearly shape the binary sections and their repeats to carve out the small phrases and modulatory turns, and in Analyse harmonique (3.6/5), which requires anticipating sequences and progressions to shape phrasing and prepare cadences. From the Baroque period, the piece belongs to Scarlatti's large set of short, contrasting sonatas that serve both as virtuosic studies and concise musical statements within his catalogue. I do not provide a reference performance here, because I prefer not to cite specific names unless I am completely certain they correspond to this exact sonata.