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 short Klavierstück IX presents an atmosphere of fragmented clarity and pointillistic resonance where small isolated motifs appear and fade, requiring attention to each attack so the texture stays transparent. Technically, two aspects stand out: Contrôle du toucher (2.5/5) — you will need to precisely control the force and quality of each strike to achieve the intended sonorities, and Indépendance des mains (2.5/5) — right and left hands often carry distinct material that must be sustained simultaneously without blending, requiring fine adjustments of tempo and duration between the hands. The piece belongs to Stockhausen's Klavierstücke series and reflects his focus on reduction, texture and the exploration of piano timbre rather than traditional melodic development.