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 piece has a percussive, compact character of clipped block chords and an incisive pulse rather than a singing line, producing a dry, tense atmosphere where every chord matters. You will mainly face challenges tied to Technique générale (2.5/5): shaping tight chords with a stable hand and controlled arm movement so inner voices remain clear without tension, and to Nuances (2.5/5): grading attack and decay within close sonorities to reveal layers despite dense textures. The exact period is unknown from the supplied information, but the work clearly belongs to the composer’s short piano studies focused on a specific technical problem rather than extended form. I do not give a reference interpretation here because I am not certain of a specific authoritative recording for this piece.