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.
These short pieces in B-flat and E-flat have a salon-like, sprightly character, alternating jaunty figures with singing passages that call for attention to contour and clarity rather than grand drama. Technically, you will face mainly legato (2.5/5) — keeping smooth connections between notes by careful finger overlaps and relaxed wrist flow — and hand independence (2.5/5) — aligning two contrasting lines so one maintains steady pulse while the other shapes ornaments. The pieces appear in the catalogue appendix as K. Anh., and their exact dating and position within works attributed to Mozart are uncertain. I do not give a reference performance here, out of caution about reliably identifying specific recordings for these short works.