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 piece projects an atmosphere of insistent, incisive repetition, where short motifs return like clear, slightly detached echoes rather than long singing phrases. Technically, you will need to focus on Staccato (4.4/5) — here the gesture requires brief, controlled attacks with immediate release of wrist and fingers so each repetition stays clear without excessive bounce — and Legato (4.4/5) — in the few connected lines you must use overlapping fingerings and very precise connection so notes hold together despite the fragmentary character. The work belongs to Béla Bartók’s piano repertoire and is characteristic of his concise, economy-driven keyboard writing in the 20th century. I do not provide a performance reference because I am not 100% certain of a canonical recording for this specific piece.