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.
The piece presents a rhythmic clarity and an almost mechanical quality in the broken triads, where emphasis is on the precision of attacks and the continuity of the flow rather than large lyrical gestures. Technically, you will need to work the Touch control (Contrôle du toucher) (2.5/5) to balance the melodic line within the broken triads by adjusting finger weight and note durations, and Two-voice polyphony (Polyphonie à deux voix) (2.5/5) to bring out two independent sonic layers despite the stacked notes — this requires subtle changes of support and slight local timing adjustments to clarify the voices. The period is listed as unknown, and the piece belongs to Bartók's piano solo output without being presented as a large-scale concert work. I do not provide a recommended reference recording here because I cannot be certain of a widely recognized performance for this specific piece.