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 March in D major has a clear, martial character: a driving steady rhythm, regular accents and metric clarity that require a crisp attack without harshness. Technically, pay particular attention to Style classique (3.1/5) which here calls for balanced phrasing and an alternation of crisp attacks and light détaché in the right hand to preserve the march-like dance, and to Demi-pédale (2.5/5) to control chord resonance and prevent harmonic blurring when the melody returns. The piece belongs to the Classical period and fits among the composer’s short character pieces that reflect the transition from Baroque practice to the formal clarity sought in the Classical era. I do not give a performance reference because I am not certain of a definitive recording for this specific piece.