Official level, taken from the exam syllabus.
Other syllabi : ABRSM Grade 2 · LCM Grade 3
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.
One rarely plays the whole work: each movement has its own level — often very different from the opus's overall score.
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 Sonatina in G major has a bright, clear character built from short, well-shaped phrases and a light accompaniment that calls for precision and rhythmic ease rather than dramatic breadth. Technically, pay attention especially to Style classique (3.8/5) — you will need crisp articulation and even phrase proportions to preserve classical clarity — and to Independence of the hands (Indépendance des mains, 2.5/5) which requires keeping a steady, detached left-hand accompaniment while the right hand sings the melody, implying a relaxed wrist and controlled finger action. The piece belongs to Clementi's pedagogical classical repertoire, intended to teach sonata/sonatina forms and foundational piano technique. I do not provide a recommended recording here because I am not certain of a single universally recognized reference for this specific work.