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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.
This set of variations on the Lied “Mein junges Leben hat ein End” calls for contrapuntal clarity and rhythmic precision: the mood is quietly reflective, each variation revealing a distinct melodic profile that requires allowing lines to breathe while keeping continuity. Technically, the Analysis harmonique (3.8/5) will force you to identify points of tension and cadence to balance the voices — concrete gesture: anticipate and support harmonic changes with adjustments of finger weight and hand pressure — and the Connaissance des formes (3.8/5) requires you to shape each variation within the whole, managing repeats and texture changes so the form remains audible. The piece belongs to Sweelinck's Renaissance keyboard practice of developing popular tunes into contrapuntal variations. I do not give a recommended recording here out of caution.