Official level, taken from the exam syllabus.
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.
The piece has a floating, sparkling character, alternating rapid figurations and light responses that require clear articulation so the melody sings through the activity. Technically, you will need to work on the Passages rapides (4.5/5) — here that means producing clean, even runs with economical wrist motion and precise finger attacks — and the Ornements baroque (4.5/5), which demand crisp, well-articulated embellishments controlled by independent fingers and subtle wrist micro-adjustments to preserve tonal delicacy. Listed as from the romantic period in the file, it occupies a place as an intimate, concise solo piano piece often programmed for its refined expressivity within Debussy's output. I do not give a recording reference here because I am not certain of a single definitive interpretation for this specific work.