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.
This piano collection has the character of short miniatures, at times playful and at times wistful, with quick rhythmic sparks and harmonic colors that require attention to detail rather than broad gestures. Technically, the Polyrhythmie 2 contre 3 (3.1/5) here requires fitting a ternary subdivision in one hand while the other keeps a steady binary, which means precise wrist and forearm control to preserve independence without losing pulse; the Style impressionniste (3.1/5) calls for careful use of pedal and voice-leading to bring out subtle harmonic colors, so a light touch and targeted releases are needed. The work belongs to Shostakovich's modern period and functions more as a set of short piano pieces than as one of his large-scale forms, giving an intimate view of his piano writing.