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 Polonoise in G minor has the feel of a restrained yet sturdy dance, with marked accents contrasted by more singing responses that alternate rhythmic firmness and melodic softness. As for technical challenges, Knowledge of forms (3.1/5) requires you to identify and organize the dance's binary sections and repeats so you can shape reprises deliberately, and Classical style (3.1/5) demands precise articulation on off-beats and a balanced touch between bass and melody; Phrasing (2.5/5) and Legato (2.5/5) call for shaping melodic lines with smooth connections even when accents interrupt the flow. The piece belongs to C.P.E. Bach’s keyboard repertoire and reflects his position between the expressive Baroque and the clearer textures of the Classical period.