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.
The piece projects a marked inner calm, like a quiet hour where chords and melodic lines answer each other with restraint to create an intimate, reflective mood rather than broad drama. You will need to focus particularly on Phrasing (2.5/5) and Dynamics (Nuances, 2.5/5): here phrasing means shaping each small line as a breathing gesture, slightly anticipating or releasing attacks, and dynamics require fine control of weight and smooth transitions so registers remain clear without the sound becoming hard. The piece appears as No. 1 of Op. 56 in Fanny Hensel's catalogue; the period of composition is not specified in the information provided. I do not give a reference recording because I am not fully certain of a definitive, well‑known interpretation for this specific work.