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 Rondo in E major is sprightly and galant, with lively exchanges and recurring refrains that call for rhythmic clarity so the dance-like character reads clearly rather than a lyrical blur. Connaissance des formes (3.1/5): you must clearly identify the episodes and refrain returns to plan repeats and transitions, which requires mapping out phrase shapes and small reprise points; Phrasé (2.5/5): the physical gesture asks for contrasting articulation between short motifs and longer connections, controlling finger lengths and hand placement so phrases are shaped cleanly without being chopped. The piece belongs to the Classical period and is part of C. P. E. Bach’s keyboard output (Wq.58), where galant traits coexist with more sensitive expressive touches connecting the empfindsamer Stil to emerging classical forms.