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.
The piece has an airy, rhythmic character that suggests the wide sertão: repeated figures and offset accents create a dry landscape as much as a swaying popular dance. Technically, the Polyrhythm 2 against 3 (3.1/5) requires concrete hand independence — one hand must keep steady duplets while the other plays clear triplet figures — and the Impressionistic style (3.1/5) calls for control of tone color, meaning differentiated attacks and a refined touch to bring out inner voices without muddying the texture. The work belongs to the composer's modern period and is part of his solo piano output, reflecting his interest in evoking local landscapes within a personal language. I do not provide a reference interpretation here because I am not certain of a single widely recognized recording for this specific piece.