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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This rating is computed automatically from heterogeneous sources. It gets things wrong, sometimes badly. If you know this work, your answer is worth more than our computation: it tells us which ratings to review.
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.
No suggestion yet.
A useful leap with guided practice.
This piano sonata feels bright and agile, with rapid exchanges between a singing right hand and a light, articulated accompaniment that calls for clear articulation rather than broad romanticism. Technically, you will need to address Phrasing (2.5/5) by shaping melodic lines with small wrist inflections and controlled legato to bring out voices, and Dynamics (2.5/5) by refining subtle dynamic contrasts through touch control rather than large volume jumps. The Fast passages (2.5/5) require economical finger motion and supple wrist rotation to maintain evenness and clarity, while Trills (2.5/5) demand precise finger control and local endurance to sustain the rhythm without tension. The period is listed as “unknown” in the provided data; nevertheless this sonata belongs to Mozart’s piano sonata output and should be approached with attention to his classical balance and contrast.