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 piece has an intimate, singing character, with a simple but expressive melody that relies on delicate contrasts between the sung upper line and the arpeggiated accompaniment. Technically, the Tempo rubato (3.1/5) requires small, controlled tempo fluctuations—so a reliable internal pulse and fine hand coordination to avoid upsetting the melodic line—and the Pedal sustain (3.1/5) calls for measured, precise pedaling to support the cantilena without blurring the harmony; concrete gestures to practice are micro-adjustments of tempo and pedal changes aligned with harmonic resonance. From the Romantic period, it reflects Sibelius's tendency to draw on song and folk-like material in his smaller piano works. I do not give a reference recording here because I am not fully confident about a single widely recognized performance for this exact piece.