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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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.
These Three Easy Pieces have a playful, incisive character: short, angular motifs and percussive replies often feel like brief dramatic vignettes rather than a lullaby. The main technical challenges for you will be Polyrhythm 2 against 3 (3.1/5), requiring hand independence to align steady contrasting pulses, and the Impressionistic style work (3.1/5), which calls for a refined touch and careful pedal control to color harmonies without muddying the lines. The piece belongs to Stravinsky's modern period and sits in his output as a concise experiment in rhythmic clarity and piano color rather than large-scale form. I am not giving a reference recording here for caution, since I am not fully certain of a single widely accepted definitive interpretation for this work.