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 Etude in E-flat major projects a tense yet radiant character, with motifs pushing toward a bright resolution while retaining an underlying nervous energy; the writing is often vocal in intent but edged with urgency rather than calm reflection. Technically, watch the Scales and arpeggios (Gammes et arpèges) (2.5/5), which require wrist rotation and precise finger control to keep the rapid figures clear, and the Legato (2.5/5), which demands smooth finger connection and steady weight control so melodic lines sing without breaks. The piece is part of Scriabin's set of piano études and, although its exact period is not specified here, it occupies a role as a technically demanding and expressive item in his piano output. I do not provide a performance reference because I am not sufficiently certain of a specific recording to recommend for this work.