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.
The piece projects a sharp, restless energy, alternating percussive figures with blurred coloristic passages that require clear articulation while preserving sonority. Technically, expect to work on Polyrhythm 2 against 3 (3.1/5) — here that means true hand independence and precise rhythmic grouping to keep a binary pulse in one hand while the other divides into thirds — and the Style impressionist (3.1/5), which calls for very refined touch and pedaling to shape timbres and resonance without blurring texture. These etudes belong to Stravinsky's modern period and are part of his piano output that emphasizes rhythmic experimentation and coloristic effects over conventional lyrical development. I do not provide reference recordings because I am not 100% certain of a single widely recognized definitive performance for these specific études.