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 A minor rondo has a lively, slightly restless character, alternating a persistent main theme with contrasting episodes that call for nervous energy and crisp accents. The skill “Connaissance des formes (3.1/5)” will help you identify and highlight the returns of the A theme and the intervening episodes, which here means preparing reprises and managing transitions in a clear, structural way; the skill “Phrasé (2.5/5)” requires shaping melodic lines with chosen slurs and detachments, deciding where to breathe or give a slight push so the phrases speak. The piece belongs to the Classical period and is one of C.P.E. Bach’s keyboard works in which he experiments with rhythmic mobility and contrast within the rondo form. I do not cite a reference interpretation because I am not certain of a single widely recognized recording for this specific work.