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.
These Probestücke read as short, lively miniatures with frequent contrasts, built on brief repeated motifs interrupted by expressive breaks and sudden dynamic shifts that call for subtlety rather than sheer virtuosity. Technically, note the Connaissance des formes (3.1/5) which here requires identifying and articulating small binary structures and their repeats to preserve overall coherence, and Phrasing (2.5/5) which demands a linking and releasing finger action to shape melodic lines and inner nuance. The pieces are part of the set of 18 Probestücke (Wq.63) and belong to the Classical period, intended as studies in style and expression rather than large-scale concert works. I do not provide a reference interpretation because I am not sufficiently certain of a specific recording for this work.