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 Sonata Allegro in E major projects a clear romantic energy: marked accents and broad melodic flights alternate with more restrained episodes, requiring a rhythmic assertiveness without heaviness. Technically, Connaissance des formes (3.6/5) is crucial here to shape exposition, development and recapitulation — the student must think in large spans to prepare repeats and preserve thematic coherence — and Tempo rubato (3.1/5) calls for nuanced micro-timing, meaning small local flexibilites of tempo while keeping a steady internal pulse in the accompaniment. The piece belongs to the composer's romantic period and sits among his contributions for solo piano, combining lyrical melody with formal construction. In lessons, work on opening long phrases with controlled attack and mark structural return points with your teacher so the form reads clearly without breaking the musical flow.