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 Czerny étude is brisk and incisive in character, focusing on short attacks and a motoric drive that feels more like methodical practice than lyrical reflection, well suited to warming up the articulation of the right hand. The main technical challenges are Staccato (4.4/5), which here requires very marked, rebounding attacks from the wrist and fingers to maintain clarity without stiffening the arm, and Scales and arpeggios (4.0/5), which demand steady wrist shifting and precise finger redistribution to keep evenness and cleanliness in fast passages. The piece belongs to Czerny’s pedagogical output, intended to develop targeted technical skills rather than extended expressive exploration. I do not provide a reference recording because I am not sufficiently certain of a single widely recognized interpretation for this exact étude.