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 piece unfolds an obsessive, upward-driving tension, more like a luminous escalation built on constant crescendi and recurring motifs than a conventional singing melody. You will need to focus especially on Tempo rubato (3.1/5) — here that means managing small rhythmic flexes without breaking the overall momentum, subtly lengthening or shortening values while keeping the harmonic line intact — and on Sustain pedal (Pédale de sustain) (3.1/5), which requires precise, often partial pedal changes to preserve the complex sonorities without blurring attacks. It belongs to Scriabin's late piano works and is characteristic of his intensified harmonic and expressive exploration near the end of his piano output. I do not give a reference interpretation because I am not sufficiently certain I could reliably name a specific recording for this particular piece.