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 II. Adagio molto unfolds a restrained, singing mood built from long suspended lines and silences that carry as much weight as the notes, with harmonic resonances creating a quietly uneasy tenderness rather than straightforward sorrow. You will specifically face the skill Analysis harmonique (3.6/5): you must trace and highlight the progression of modulations and inner voices so that each harmonic pivot is clearly supported; and Tempo rubato (3.1/5): the piece requires fine control of legato and subtle tempo shifts—slightly lengthening phrase entrances and easing off at cadences—without losing the underlying pulse. The movement comes from the set of sonatas Op.10 and already shows Beethoven moving toward a more intimate, Romantic expressivity.