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.
This minor-key sonata feels tense and urgent, alternating brisk, agitated passages with more introspective episodes that still require a sense of forward motion; you will often encounter rhythmic breaks and clear contrasts between the hands. Work should focus on Independence of the hands (2.5/5), which here means sustaining a steady bass or accompaniment while the other hand shapes melody or rapid figures, and on Legato (2.5/5), which requires connected fingerings and controlled forearm motion to link phrases without unwanted breaks. It belongs to Haydn's piano sonata output and reflects the Classical sonata balance of formal clarity and dramatic invention. I do not provide a reference recording because I prefer not to risk giving an incorrect specific recommendation for this particular work.