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 Danse (Tarentelle styrienne) comes across as a lively, dance-like piece with a driving, slightly springing rhythmic character that requires lightness and crisp attack. In terms of technique, Technique générale (2.5/5) here means quick hand shifts, precise finger coordination to keep figuration clear, and steady control of articulation, while Nuances (2.5/5) will ask you to manage dynamic contrasts and short accents without weighing down the line. It is a piano solo whose exact place in Debussy's catalogue is not clearly documented, commonly treated as a short character dance rather than a central work. I do not provide a reference recording, preferring not to name performers unless I am certain of the attribution.