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 projects a lively, percussive character, with jagged accents and rhythmic figures that read more like an aggressive dance than a singing line. You will mainly face challenges of independence of the hands (2.5/5): the left may hold ostinato or steady patterns while the right plays syncopated accents, requiring clear dissociation of lines; and control of touch (2.5/5), since you must switch between sharp, percussive attacks and more connected passages without sacrificing rhythmic precision. Within Bartók's output, this work belongs to his solo piano repertoire and sits among pieces that treat the piano in a rhythmically and percussively driven way. I do not provide a reference recording because I am not sufficiently confident about a single widely recognized interpretation for this specific piece.