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 minuet alternates two characters: a first theme that is sprightly and rhythmically pointed, followed by a more singing, graceful reply that requires emphasizing the contrast between dance and cantilena. You should work on Connaissance des formes (3.1/5) by clearly identifying the contrasting sections and repeats so the alternation is readable — practically this means marking phrase endings and handling repeats without losing momentum — and on Phrasing (2.5/5) to shape each short phrase with slight changes of attack and release that outline the melodic arc. Placed in the Classical period, it is one of the short keyboard pieces intended for light entertainment in C. P. E. Bach’s output, where expressive contrast is often preferred to large-scale development. I do not provide a reference recording here because I do not have a reliably identifiable source for this specific piece.