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 set of variations on an arietta has a playful, slightly teasing character, built from short motivic turns around a central idea and frequent phrase breaks that feel more ironic than solemn. You will need your Harmonic analysis (3.8/5) to follow the quick modulations and chord inversions—this requires precise fingering adjustments and mindful phrase breathing—and work on Dynamics/nuance (2.5/5) to shape small dynamic contrasts and subtle legato without overdoing them; practically, that means controlling attack and release with the fingers to keep each variation distinct. The piece belongs to the Classical period but already displays the expressive freedom and rhythmic flexibility found in C. P. E. Bach's keyboard output. I am not giving a reference performance here because I cannot confidently single out one recording universally accepted for this specific work.