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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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 C major sonata feels bright and conversational, built from short motifs and crisp articulation that make the two hands trade remarks more than sustain long lyrical lines. Technique: Style classique (3.8/5) — you will need precise, differentiated articulation (light finger strokes, judicious detaché and controlled legato) to keep the phrases clear; and Analysis harmonique (3.6/5) — mapping the modulations and cadences helps shape responses and repeats without breaking momentum. In context, it belongs to Haydn's body of keyboard sonatas and reflects the formal clarity and occasional contrapuntal twists typical of his piano writing. I do not give a reference recording here because I am not fully certain of a single widely recognized interpretation for this specific sonata.