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 étude has a brisk, incisive character, built on short, percussive motifs that demand attack and clarity rather than lyrical reflection; it reads as a pedagogical piece aimed at rhythmic precision more than long musical spans. Technically, you will mainly face Staccato (4.4/5), which requires rapid finger release and a flexible wrist to produce crisp, well-defined attacks, and Legato (4.4/5), which here means connecting notes across jumps and rapid passages by careful finger transitions and judicious pedal use; General Technique (4.3/5) and Scales and Arpeggios (4.0/5) support these gestures through many brief virtuosic patterns. The piece belongs to the 19th-century pedagogical tradition for piano, typical of Czerny's studies meant to develop specific skills. I am not giving a recording recommendation because I am not 100% certain of a definitive reference for this particular étude.