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 contredanse feels like a light, playful dance with short, cadenced phrases that require a clear pulse and a slight rhythmic snap to maintain a lively, courtly character. Among the technical challenges, Phrasing (2.5/5) here means shaping short melodic cells with brief breaths and measured releases between phrases, and Dynamics (Nuances, 2.5/5) require fine control of finger and arm weight to produce subtle dynamic contrasts without breaking the forward motion. The piece is listed uncertainly in the catalogue as K. deest (269b), characteristic of light contredanses often linked to Mozart but whose attribution and dating remain unclear. I do not provide a reference recording because I am not certain of a definitive performance for this specific piece.