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.
The III. Presto has a brisk, biting character built on short motifs and sudden accelerations that call for crisp articulation rather than a continuous legato. Technically, you will face the Rythme général (2.5/5), requiring precise coordination between the left-hand accompaniment and the right-hand melody to maintain drive without blurring syncopations, and Phrasing (2.5/5), which involves shaping very short motifs with controlled attacks and quick finger releases. It belongs to Mozart’s classical piano sonata repertoire, reflecting the period’s taste for formal clarity and brilliant keyboard writing. I do not give a reference recording here because I am not fully confident of naming a single, universally recognized performance for this specific movement.