Official level, taken from the exam syllabus.
Other syllabi : AMEB Grade 1
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 waltz feels airy with a faint melancholy, requiring a steady danceable sway while allowing brief suspended, expressive moments — part light salon dance, part restrained lyricism. Technically you will face the Phrasing (3.9/5), which here means shaping the melody with a secure legato and right‑hand support to project the voice, and Tempo rubato (3.9/5), which requires micro‑adjustments of the pulse: very controlled small advances and delays without losing the underlying beat. The piece belongs to Brahms’s set of piano waltzes in Op.39, where he combines salon character with lyrical depth. I do not provide a recommended recording because I am not fully certain of a single widely recognized reference for this specific arrangement.