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.
Does this rating look right to you?
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 two short pieces by Tchaikovsky blend introspective singing lines with sudden bursts of passion, alternating lyrical phrases and sharp accents that call for careful expressive shaping. Technically, you will face notably Tempo rubato (3.1/5) — you must slightly stretch and compress phrase timing without losing the rhythmic thread, which requires controlled thumb and finger gestures to keep the melodic line coherent — and Sustain pedal (Pédale de sustain) (3.1/5), requiring precise pedal releases and changes to sustain resonance without blurring the harmonies. The pieces belong to Tchaikovsky's Romantic period and are among his early works for piano, giving a glimpse of his melodic gift and taste for dramatic contrast. I do not provide a reference performance here out of caution.