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 Consolation in E major feels like an intimate lullaby, quietly lyrical, with a singing melody floating over a simple but shimmering accompaniment. The main technical challenges are Phrasing (2.5/5) and Legato (2.5/5): you must shape each phrase with careful breath-like intent (attacks and releases) and secure a finger- and arm-weight legato so the melody never breaks across chordal shifts; Nuances (2.5/5) also requires very fine dynamic shading to keep the intimacy without losing line. The piece belongs to Liszt’s set of Consolations, a group of lyrical piano miniatures occupying a distinct, contemplative place in his solo piano output. I do not give a recommended recording here because I am not fully certain of a single definitive interpretation for this specific piece.