Official level, taken from the exam syllabus.
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.
Does this rating look right to you?
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 piece has a bright, songlike intimacy, unfolding a simple, lyrical motif that feels like a small, poised folk tune rather than a display piece. Technically, you will need to focus on Phrasing (2.5/5) — shaping each melodic line with slight tension and release — and Legato (2.5/5) — keeping notes connected through controlled wrist motion and finger support so the melody truly sings. It belongs to Mendelssohn’s Songs Without Words series, a set of piano pieces written as vocal-like miniatures that hold a lyrical, salon-music place in his output. I am not naming a reference recording here because I cannot be certain of a single definitive interpretation for this specific piece.