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 G minor sonata has a lively, sharply-contrasted character, alternating articulated figures and quick passagework that call for steady rhythmic clarity rather than broad romantic phrasing. Technical work should focus on Technique générale (2.5/5): in practice that means controlling hand independence and precise attacks in rapid figures, and on Sight-reading (Lecture à vue, 2.5/5): you will need to recognize patterns quickly and map repeats so the piece flows on first approaches. The work belongs to Scarlatti's keyboard sonata repertoire, typical of his short, contrasting movements that explore idiomatic keyboard textures. I do not provide a reference recording here because I am not certain of a single widely recognized edition for this specific first edition.