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.
These two Impromptus à la Mazur have a dance‑like character with mazurka inflections — syncopated accents and an inward rubato — alternating with more dream‑like, folding phrases. You will need to work especially on Tempo rubato (3.1/5): managing subtle tempo fluctuations to breathe the phrases without losing forward motion, and Sustain pedal (3.1/5): using precise pedaling (half‑pedal and quick releases) to connect voices without blurring the harmony. Placed in Scriabin’s Romantic period output, they are early piano pieces that reveal his taste for dance forms reworked into an intimate pianistic language. I do not give a reference interpretation here because I am not fully certain of a single widely recognized recording for these specific pieces.