Official level, taken from the exam syllabus.
Other syllabi : Trinity_London Grade 1
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.
Does this rating look right to you?
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 mazurka feels like a slightly springy dance, with irregular accents that alternate between brisk gestures and brief moments of melancholy. You will need to focus on phrasing (4.3/5) — here that means shaping the melodic line with micro-accents and subtle connections, using finger pressure and wrist rotation to give each motif its breath — and on dotted rhythms (4.3/5), which require a clear short-long separation achieved by precise wrist release and adjusting the finger durations rather than blunt articulation. Within Tchaikovsky’s output it sits among his short piano pieces, more in the salon-dance vein than in the large-scale concert repertoire. I do not have a reliably identified reference performance for this specific mazurka, so I will not name one.