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 minor sonata projects a taut, incisive character, shifting between brisk exchanges and darker episodes that call for a keen sense of rhythmic drive and phrase shaping rather than mere melancholy. Technically, you will need to focus on Analyse harmonique (3.6/5) to quickly recognize modulating progressions and adjust chord voicing through finger redistribution and bringing out inner voices, and on Ornements baroque (3.1/5) which require short, clear executions of grace notes and trills with wrist control and precise finger articulation to avoid blurring. The piece belongs to the Baroque period and is part of Scarlatti's keyboard sonata output where he probes dramatic colors and instrumental-like dialogues within compact movements. I do not provide a reference recording here, out of caution about naming a specific performance without full certainty.