Official level, taken from the exam syllabus.
Other syllabi : RCM Grade 5 · Trinity_London Grade 5 · AMEB Grade 5 · RCM Grade 5
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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One rarely plays the whole work: each movement has its own level — often very different from the opus's overall score.
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 G major sonata feels bright and poised, alternating lively passages with more lyrical episodes that require forward momentum without losing contrapuntal clarity. You will mainly face challenges in Connaissance des formes (3.6/5) — you must clearly delineate exposition, development and recapitulation so the form is heard — and in Analyse harmonique (3.6/5) — following and highlighting modulations and pivotal bass lines requires precise left-hand placement and careful voicing of chord inversions. Typical of the Classical period, it belongs to Mozart’s piano sonatas where he refines the balance between melodic invention and formal architecture. I do not give a reference recording here because I prefer not to risk an error regarding specific performances.