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 G minor sonata feels crisp and pointed, alternating sprightly leaps with dry responses that require a clean articulation and restrained rubato to preserve the Baroque drive. You will specifically face the skill « Connaissance des formes (3.6/5) »: practically this means managing the binary sections and repeats, anticipating modulations and shaping dynamics on returns so the form reads clearly without interrupting momentum; and « Ornements baroque (3.1/5) »: you must deliver short, precise ornaments (appoggiaturas, small trills) with light, coordinated finger action that doesn’t slow the pulse. The piece sits in the Baroque keyboard sonata repertoire, representative of Scarlatti’s concise and inventive keyboard writing. I do not provide a reference interpretation here because I am not certain of a single widely recognized recording for this exact sonata.