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 Fantasy in A major feels improvisatory and capricious: alternating singing phrases with lively episodes, implied tempo shifts and ornamented passages that convey a contained freedom. You will need to work especially on Form knowledge (Connaissance des formes, 3.1/5) to anticipate and shape repeats and transitions — this means treating each section as a small plan in memory so you can adjust energy and breathing between segments — and on Classical style (Style classique, 3.1/5), which requires clear, light articulation, decisive accents and slight reductions on detached notes to respect the idiom here. The piece belongs to the Classical period and sits among C. P. E. Bach’s keyboard works where a fantasylike spirit is balanced with structural thinking. I do not give a reference recording here out of caution.