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 feels singing and wistful, alternating long lyrical lines with sharper episodes that require a vocal sense of phrasing. You will specifically face Ornaments of the Romantic style (2.5/5) — here you must execute small appoggiaturas and subtle portamento-like inflections with controlled timing so the ornaments enhance rather than blur the line — and Polyphony of three voices or more (2.5/5), which requires voicing and balancing a principal line with at least two inner voices so the counterpoint remains clear beneath the accompaniment. In the composer's catalogue, this is a sonata for an instrument with piano accompaniment often played on the cello and well established in the sonata repertoire for instrument and piano. I do not give a reference recording here out of caution, as I am not confident of a single recording universally recognized for this specific edition.