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 solo piano piece creates a taut, insistent character, with recurring rhythmic cells that act more like etched strokes than long lyrical lines. Practically, you will face issues of Phrasing (2.5/5) — you must shape short phrases and clarify the attacks of each motif — and Legato (2.5/5), where the hand must sustain inner voices smoothly despite percussive accents; Dynamics (Nuances, 2.5/5) also require precise control to keep clarity and line. It belongs to Bartók’s piano repertoire, reflecting his focus here on rhythmic immediacy and concise expression rather than extended development. I do not provide a recommended recording out of caution, as I do not have a single reliably attributable reference for this exact title.