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 short piece has a playful, skipping character, with sharp accents and small phrase breaks that give it an almost folk-like, witty quality. On the technical side you will face first the skill “Rythme général” (2.5/5): you must deliver precise accents and brief pulse shifts without letting the tempo blur, which requires fine metric control from the hand that marks the beats; secondly “Caractère et style” (2.5/5) requires clear, differentiated articulation, staccatos that start and stop cleanly, and tight dynamic shaping to convey the work’s piquant speech. As context, it is a solo piano piece by Béla Bartók and belongs to his piano repertoire rather than his large-scale orchestral works; the dating is unknown. I do not give performance references here because I am not 100% certain of a definitive recording for this specific piece.