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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 No.1 from Op.740 has a bright, percussive character, driven by a motoric momentum that calls for crisp, clear attacks rather than prolonged lyricism. The main technical challenges are Doubles notes (4.4/5), which here require precise finger articulation and controlled wrist relaxation to maintain equality between voices, and General technique (4.3/5), manifesting as consistent right/left hand coordination and secure arm placement to support the virtuosic passages. In context, it belongs to Czerny's large body of pedagogical and virtuosic études, intended to train specific pianistic skills rather than serve as a standalone concert work. I do not have a reliably identifiable reference recording for this exact piece, so I will not suggest one.