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 Valse in F minor has a dance-like yet nervous character, alternating lyrical surges with sharper, pointed passages that require maintaining an underlying pulse despite the apparent lightness. Among the technical challenges, pay particular attention to Tempo rubato (3.9/5) — here it means shaping small flexible moments without losing the central rhythmic drive — and Phrasing (3.9/5), which requires sculpting each bar to bring out clear contours of the motifs while controlling inner-voice balances. The piece belongs to the Romantic period and reflects a young Scriabin working within salon forms and the waltz tradition rather than his later harmonic experiments. I do not suggest a reference recording because I am not 100% certain of a single widely recognized interpretation for this specific piece.