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.
This piano piece feels delicate and fragmentary, deceptively simple with childlike gestures that hide sudden silences and a slightly uncanny intimacy requiring very precise touch. Technically you will face polyrhythm 2 against 3 (3.1/5), which here means keeping a steady binary pulse in one hand while fitting ternary groupings in the other — the concrete motion is to subdivide mentally and use wrist-supported articulations to clearly outline off‑beats without breaking the flow — and impressionist style (3.1/5), which calls for controlled tonal colors and light finger work with a very restrained use of pedal to keep harmonic transparencies. The piece belongs to Webern's modern period and exemplifies his concise, concentrated approach within his output. I do not give a reference recording because I am not fully certain of a single widely recognized performance for this specific piece.