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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The safest next step.
A genuine step up, without a jolt.
A useful leap with guided practice.
This Sinfonia in F presents a lively, sharply contrasting character, with tight polyphonic passages alternating with singing melodic lines that call for clear articulation rather than broad romantic rubato. You will need to focus on Indépendance des mains (4.6/5) — here that means maintaining different patterns in each hand while preventing the accompanying hand from covering the principal line — and Polyphonie à trois voix ou plus (4.6/5), which requires bringing out three distinct voices simultaneously through careful voicing and precise fingering. The piece, listed H.227, Wq.122 no.5, belongs to the Classical period but retains strong pedagogical and polyphonic traits linked to C.P.E. Bach's transitional role between Baroque and Classical idioms. I do not give a reference performance because I prefer not to cite a specific recording unless I am certain of it.