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.
Does this rating look right to you?
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.
The piece has a bright, playful character, with lively motifs and call-and-response passages that call for agility and clarity more than heavy expressiveness. Technical focuses: Independence of the hands (2.5/5) — you will need to sustain a steady accompaniment while the other hand plays livelier figuration, requiring distinct control of weight and touch in each hand; Legato (2.5/5) — connecting melodic lines, sometimes split between the hands, requires supple fingers and precise hand-to-hand relays to maintain continuity without blurring articulation. It belongs to Soler's set of keyboard sonatas, placed among his instrumental output rather than vocal or orchestral works. I do not give a performance reference here because I am not 100% certain of a single widely recognized recording for this specific piece.