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 VI. Allegro moderato, molto capriccioso comes across as a nervous, prickly piece, full of abrupt bursts, sharp accents and small repeating motifs that skip and answer each other. You will especially need to work on independence of the hands (2.5/5): here that means sustaining different rhythmic and articulatory patterns between the hands, often an ostinato accompaniment against a detached melodic line, and on nuances (2.5/5) which require subtle dynamic shading to bring out voices without forcing the touch. The piece is for solo piano and the period is listed as unknown in the available information, though it belongs to the composer's piano output. I do not provide a reference interpretation because I am not 100% certain of a specific recording for this movement.