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.
A genuine step up, without a jolt.
A useful leap with guided practice.
This II. Allegro molto e vivace has a nervous, springy character, with a sense of rhythmic urgency and sharp accents that require precise attacks and an articulation leaning toward short, percussive strokes rather than continuous legato. The main technical challenges are Connaissance des formes (3.6/5) and Tempo rubato (3.1/5): the former requires identifying and clearly shaping the small thematic cells and their returns to articulate internal transitions, the latter demands control of the gesture to bend the local tempo without losing the underlying pulse — hands must stay coordinated despite rapid embellishments. The piece is part of Beethoven’s Sonatas op.27, a set in which he experiments with the border between sonata and fantasy, accounting for the abrupt shifts of character within the movement.