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 B-flat major concerto projects a lively, conversational character, alternating singing lines with brisk passages that require a clear give-and-take between soloist and orchestra. You will need to focus specifically on Connaissance des formes (3.1/5) to preserve the concerto’s structural logic and clearly shape episodes and returns, and on Style classique (3.1/5), which calls for a supple, precise gesture to convey the short phrasing and balance of expression and restraint; Nuances (2.5/5) and Contrôle du toucher (2.5/5) demand varied attacks and dynamic control to sustain the melodic line without overwhelming the accompaniment. The piece belongs to Carl Philipp Emanuel Bach’s concertante output within the classical period and is often played as an example of his expressive solo-and-orchestra writing. I do not list a reference recording here because I prefer not to name a specific interpretation unless I am certain of it.