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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This rating is computed automatically from heterogeneous sources. It gets things wrong, sometimes badly. If you know this work, your answer is worth more than our computation: it tells us which ratings to review.
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 pieces create a nocturnal, introspective mood, alternating between floating, blurred moments and sharper, more decisive episodes; the work’s character lives in subtle variations of tempo and color. Technically, pay special attention to the Tempo rubato (3.1/5) — you will need to execute very subtle retardations and accelerations without losing harmonic continuity — and to the Sustaining pedal (Pédale de sustain, 3.1/5), which requires precise pedal release and changes to preserve inner-line clarity while keeping resonance. They sit within the composer's Romantic piano output and are part of his works for solo piano, favoring intimate expression over grandiose display. I do not give a recommended recording here out of caution, since I prefer not to cite a possibly incorrect reference.