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 Allegro in D major is lively and bright, with rhythmic-melodic thrusts that demand a brisk attack paired with a galant lightness in the responses; the piece uses short, linked phrases that call for clarity and nimbleness. Knowledge of forms (3.1/5) is important here: you will need to identify sections and repeats clearly to balance episodes and shape transitions, for example by slightly marking the beginnings and ends of repeats to preserve structural coherence. Phrasing (2.5/5) requires subtle line-shaping — rounding the small phrase arcs, timing internal breaths, and tapering notes so the melodic logic remains clear without heaviness. As a Classical-period keyboard piece by the composer, it belongs to his keyboard output as a compact salon-style movement representative of his instrumental style.