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 piano piece evokes a restrained, fresh morning rain, with repeated figures suggesting drops and delicate resonances rather than broad stormy gestures. You will face challenges with Phrasing (2.5/5) and Legato (2.5/5): the former requires shaping the small melodic cells with slight emphasis and internalized timing to make the line breathe, the latter demands connecting voices through precise finger control and careful arm weight to keep continuity without heaviness. The period of composition is listed as unknown, and the piece occupies a rather discreet place in Debussy's piano output rather than being part of his most famous cycles. I do not provide performance references because I am not 100% certain of a canonical recording for this specific work.