Official level, taken from the exam syllabus.
Other syllabi : AMEB Grade 2
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 Waltz Op.39 No.8 has a light, wistful character, where the melody converses like an intimate dance tune rather than a showy parade. The main technical challenges will be Phrasing (3.9/5) — you must shape the melodic line with subtle dynamic control and internal legato so each motif sings — and Tempo rubato (3.9/5) — introducing small temporal flexibilities while keeping a steady underlying pulse requires coordinated arm/ wrist motion and secure left-hand accompaniment. The piece belongs to the waltzes in Tchaikovsky's Op.39 and sits within his shorter piano works intended for salon performance and lyrical expression rather than large-scale orchestral display.